THE CLARINET MUSIC OF CHARLES VILLIERS STANFORD

by

DAVID L. FENNELL, B.M.Ed., M.A.

A DISSERTATION

IN

FINE ARTS

Submitteci to the GracJuate Faculty of Texas Tech University in

Partial Fulfillment of the Requirements for

the Degree of

DOCTOR OF PHILOSOPHY

Approved

Accepted

August, 1988

/ v J o ^ '

Copyright 1988 David L. Fennel 1

ACKNOWLEDGMENTS

I wish to acknowledge Dr. Frederick Hudson of the University of

Newcastle uoon Tyne, England, for his invaluable assistance in the

research and procurement of materials for this project. In addition, I

am deeply indebted to the following correspondents and libraries for

their assistance in obtaining information and manuscripts: Pamela

Weston, Georgina Dobree, Colin Bradbury, Michael Bryant, Gerald Norris,

John Denman and Paula Fan, Adrian Rushton, The Royal School of Church

Music, the University of Newcastle upon Tyne Library, Cambridge

University Library, The Royal Academy of Music Library, and The British

Library.

My sincere appreciation is extended to Dr. Michael C. Stoune and

the other members of my committee, Keith McCarty, Richard McGowan,

George Sorensen, and Daniel Nathan, for their guidance and help.

To my wife and son, I am forever indebted and grateful for the

support, encouragement, and sacrifice in the completion of this

project.

11

CONTENTS

ACKNOWLEDGMENTS ii

FIGURES V

CHAPTER

I. STANFORD'S INFLUENCE AS A CONDUCTOR, TEACHER AND COMPOSER 1

Introduction 1

Influence as a Conductor 2

Influence as a Teacher 10

Influence as a Composer 26

II. A DOCUMENTARY HISTORY OF THE SOURCES OF MANUSCRIPTS AND PRINTED EDITIONS, AND THE PERFORMANCES OF STANFORD'S CLARINET MUSIC 45

Introduction 45

Three Intermezzi, Op. 13 46

Concerto, Op. 80 59

Serenade, Op. 95 71

Sonata, Op. 129 74

Minuet in B-^lat Major, Fantasy in G Minor and Fantasy

in F Major 85

III. A STRUCTURAL AND STYLISTIC ANALYSIS OF SELECTED WORKS FOR

THE CLARINET 88

Introduction 88

Three Intermezzi, Op. 13 88

Concerto, Op. 80 107

Sonata, Op. 129 12^ i i i

IV. CONCLUSIONS AND RECOMMENDATIONS FOR FUTURE STUDY 142

SELECTED BIBLIOGRAPHY 147

APPENDICES

A. EXCERPTS OF CORRESPONDENCE 152

B. PHOTOCOPIES OF THE AUTOGRAPH SCORE, MANUSCRIPT CLARINET PART, AUTOGRAPH CLARINET PART AND AUTOGRAPH VIOLIN PART TO THREE INTERMEZZI, OP. 13 172

C. PHOTOCOPIES OF THE AUTOGRAPH SCORE TO CONCERTO, OP. 80 . . 193

D. PHOTOCOPIES OF THE AUTOGRAPH SCORE AND AUTOGRAPH CLARINET PART TO SONATA, OP. 129 270

IV

FIGURES

Three Intermezzi, Op. 13: A comparison of the autograph score and parts with the Novello (1880) and the Chester (1979) editions

Concerto, Op. 80: A comparison of the clarinet lines in the autograph score, the manuscript score, the Cramer score and the Royal Academy of Music clarinet part ( ( ( (

Sonata, Op. 129: A comparison of the autograph score and autograph clarinet part with the Stainer and Bell score and clarinet part > > > >

CHAPTER I

STANFORD'S INFLUENCE AS A CONDUCTOR,

TEACHER AND COMPOSER

Introduction

Coming from an affluent family in Dublin, Ireland, Charles

Villiers Stanford (1852-1924) received a sound educational background

in the classics, including literature and poetry and the Latin and

Greek languages. He was also afforded the opportunity to study music,

which included piano, organ and violin lessons and the study of the

literature and compositional styles of the great composers of the past

and present. His college studies at Cambridge (1870-1874) were, again,

in the classics; however, he used his musical talents to help organize

the local musical activities. "Music in Cambridge was then in a dis­

organized state. There was plenty of talent, but no means of concen­

trating it for useful purposes."^ By 1873, while still a student,

Stanford had sucessfully reorganized the Cambridge University Musical

Society into a vocal group with both male and female voices and

supported with a fully instrumented orchestra. In addition to being

named its conductor, he also became the organist for Trinity College at

Cambridge in the same year.

With the Cambridge University Musical Society as his main venicle,

Stanford used his conducting, teaching and compositional skills to

establish Cambridge as a center of musical activity that had previously

^Charles V. Stanford, Paces From an Unwr-tten Jiary (Loncon Ecward Arnold, 1914), p. il2.

1

been unknown. As his reputation spread throughout England and on the

Continent, Stanford was able to secure performances of his own

compositions in the major centers of Europe, as well as securing,

sometimes, first performances of the compositions of the major

composers in Europe for the Cambridge University Musical Society.

The results of his success at Cambridge allowed him, in the

following years, to be named professor of composition at the Royal

College of Music when it opened in 1883, conductor of the London Bach

Choir in 1885, and conductor of the Leeds Festivals in 1901.

In order to ascertain a clearer understanding of Stanford's

influence on the musical life of England, a detailed description will

be given in each of the three primary areas of his career: (1) as a

conductor, (2) as a teacher, and (3) as a composer.

Influence as a Conductor

As a conductor, Stanford helped raise the quality of musical life

in England by developing skilled musical organizations and by

programming music of composers not yet known to British audiences.

In 1871, while a student at the University of Camoridge (1870-7'i),

Stanford wanted women to be acceoted into the Cambridge University

Musical Society in order to develop the oalancea vocal sounas and

quality necessary to perform the major choral works of the day. The

acceptance of women into the group was denied at first. This was

accomplished only after Stanford and a friend formeo a small choir, the

Amateur Vocal Guild, which utilized the women singers of CamDridce in a

group outside University authority. The choir gave only two public

performances.

At the second of these performances was produced Bach's Cantata, "Gottes Zeit ist die allerbeste Zeit," for the first time in England. The effect of this rival society was such, that the Torries of the C.U.M.S. rubbed their eyes, and when they were offered a fusion . . . the decision of the previous year was exactly reversed.^

Stanford was named the conductor of the Cambridge University

Musical Society in 1873. He made the following comments in his Pages

From an Unwritten Diary in 1914:

. . . with the help of a first-rate orchestra now within its means, it began its mission of making known new works as well as of making the audiences familiar with the best of the old. Schumann's "Paradise and the Peri" was the first important revival, which was followed by the first performance in England of the same composer's "Faust" music (Part 3), and Brahms' "Requiem."^

By 1876, through his friendship with the violinist, Joseph

Joachim, who was also a friend of Brahms, Stanford secured an

invitation for both Brahms and Joachim to receive honorary doctor of

music degrees from the University. In a letter to Brahms, Joachim

tried to persuade Brahms to accept the invitation. "The University

wants to honour me in the same way, and I have said 'Yes.' It's the

first time that the title of Doctor has been offered to a

foreigner."'* Because of "the necessity of submitting to the

^Stanford, Diary, p. 115.

^Stanford, Diary, pp. 115-16.

^Gerald Norris, Stanforc. the Cambr'dce Jupilee and ~c."a !kovs'Kv (Newton Abbot: David and Charies, I93C), p. 77.

4

excitement of London,"^ Brahms declined the invitation; however, in

the process, Stanford had secured permission from Brahms to perform his

first symphony, still in manuscript, with the Cambridge University

Musical Society.

The concert took place in Cambridge on March 3, 1877, in

conjunction with the ceremony for Joachim's honorary degree. Althougn

Joachim conducted the symphony at the performance, Stanford did the

first rehearsals and conducted the other works on the program, except

Joachim's own Elegiac Overture. The works Stanford conducted included

Brahms' Song of Destiny, Sterndale Bennett's The Wood Nymphs,

Beethoven's Violin Concerto and violin pieces by Bach, with Joachim as

violin soloist.

In 1878, Stanford conducted two more of Brahms' works with the

Cambridge University Musical Society. The first performances in

England of Alto Rhapsody and Neue Liebeslieder waltzes were presented

in the summer of that year."

When the Royal College of Music opened in 1883, Stanford was

appointed Professor of Composition, and he also became co-director of

the orchestra, along with Henry Holmes, a violinist. He became the

sole director in 1885. The orcnestra members were drilled QVQry day in

sightreading skills and read works in progress by his students.

Stanford described the founding principles of the group:

-Norris, p. 78.

^Norris, p. 36.

We went on the principle that a hearing of a composition is the best lesson the writer can get, and that the perspiration and agony from which a composer suffers when he hears the sounds of his own inexperience is the most valuable part of his training. School orchestras abroad were seldom complete, and were restricted in their repertoire to the most classical music, all modern develop­ments being stringently placed upon the Index Expurgatorius. We adopted the principle that for effective training the players should know everything, old and new . . J

The production of operas was also part of the training program set

up by Stanford. In his book, Stanford, the Cambridge Jubilee and

Tchaikovsky, Gerald Norris states that Stanford's commitment to opera

" . . . was in his blood; of all his achievements at the Royal College,

he was proudest of having brought the productions of operas to a high

standard."° Many of the operas that he conducted are masterpieces,

including Qrfeo ed Euridice, Cosf fan tutte. The Magic Flute, Fidelio.

Per Freischutz, Falstaff, and Euryanthe. "He conducted, on 16 July

1890, what appears to have been the first performance of Cosf fan tutte

to be heard in London for more than sixty years."^

As a result of this training, the students at the Royal College of

Music found easy access to major positions in the professional

orchestras of England which, up until then, had consisted largely of

foreign musicians from the Continent. Harry Plunket Greene made the

following comments about the Royal College of Music orchestra:

^Norris, p. 44.

°Norris, p. 551.

-Norris, p. 3co.

One student after another passed almost auto­matically into the great orchestras of the country and never failed to make good. Sixty years ago [1875] British orchestras were mainly foreign; to-day they are British to a man - and the training grounds have been the R.A.M.* and the R.C.M. and Stanford their greatest trainer. . . . I doubt if any student orchestra in any country got such a grounding in essentials as that of the R.C.M. in his t i me.'^

Stanford's conductorship of the London Bach Choir, Leeds Music

Festival and participation with ewery British music festival of his

time helped establish a level of professional musicianship Great

Britain had previously not known. He became conductor of the London

Bach Choir in 1885. In connection with the celebration of Queen Vic­

toria's fiftieth year to reign (1887), Stanford conducted Berlioz's Te

Deum with the London Bach Choir. "This was a daring choice on his

part, for Berlioz was still regarded with suspicion . . . "^^ The

first English performance of Brahms' Three Motets was given by Stanford

and the London Bach Choir in June of 1891. Because of his commitments

to the Leeds Triennial Festival, Stanford resigned his conductorship of

the London Bach Choir in 1902.

He accepted the leadership of the Leeds Festival in 1901, whicn

began by his struggle with the committee to program music outside the

limited realm of past festivals. In a letter dated Novemoer 28, 1900,

Stanford asked the committee to "Get out of this eternal rut of Messiah

*The Royal Academy of Music, the older of the two institutions, was founded in 1823.

^^Norris, p. 44.

^^Norris, p. -^9.

and Elijah . . . Set the example of what ought to be done at a Festival

like yours."^^ According to Gerald Norris, from a letter of January

18, 1901, Stanford "exhorted them to let him perform 'a big Berlioz,'

and was rewarded with the overture to Benvenuto Cel1ini. On the whole,

though, the committee gradually accepted his more progressive

ideas."^^

In an effort to promote new music and composers, Stanford

presented his own student, Ralph Vaughan Williams, at the Leeds

Festival of 1907 with Vaughan Williams' Toward the Unknown Region and

again in 1910 with A Sea Symphony. After the 1910 festival, Stanford

resigned his conductorship due to the continuing conflict with the

committee.

In addition to conducting his own organizations, Stanford " . . .

appeared as guest conductor of his own works in Paris, Berlin, Amster­

dam, Brussels . . . ," ^ London and in all the other major music

festivals of England, including those in Manchester and Birmingham. On

January 14, 1889, having been at the German premier of his Symphony

No.3 in Hamburg and Berlin under Hans von Billow, Stanford returned to

Germany to conduct the Berlin Philharmonic in the world premier of his

Symphony Jo.4 and Suite for Violin and Orcr.estra. The violin work was

played by Joseph Joachim, to whom the piece is dedicated. •'••' Stanford

^^Norris, p. 556

^^Norris, p. 556

^"^Theodore Baker, " S i r Charles V i l l i e r s Stanford , " Baker's Biooraphical Dict ionary of Musicians, 7tn ed. (new Yor'<: G. Scnirmer, 1984), p. 2139.

8

also accepted conducting engagements in London where he frequently

programmed the music of young composers, including Percy Grainger's

Variations on "Down among the Dead Men" for piano and orchestra.

Grainger was at the piano while Stanford conducted the orchestra in a

concert in the winter of 1904. Stanford also guest conducted major

works with major orchestras. "In January 1906, he conducted

Beethoven's Ninth Symphony with the London Symphony Orchestra at a

concert in Paris . . . " ^

Stanford's conducting style was described by Thomas F. Dunhill in

an address to the Royal Musical Association in 1927.

With Stanford the music was everything, the display nothing. He never tried to make points or indulge in new readings. He would have scorned to do so. His stick-technique was of the old-fashioned type of which Richter was the foremost representative. He grasped the baton firmly, kept his wrist stiff, and brought his whole arm into play continuously. One often felt that when he was conducting he was so engrossed in the beauty of the music that the actual performance was forgotten, and he was always a little too ready to be satisfied with the results in which the spirit of the music was realised with­out full regard for true balance or finesse. On the other hand, as Dr. Dyson says, he did "reveal the nobility of masterpieces" by the sheer sincer­ity of purpose which communicated itself to the performers. In the works he specially loved, such as the "Freischutz" Overture and the Symphonies of Brahms and Glazounow, he could secure renderings wnicn were, to my mind, equal, perhaps superior, to those of any other British conductor of his time. Moreover, he was invariably master of the situ­ation, always ready for emergencies, always resourceful, and in one matter of supreme impor-tance--choice of temDi--he was far more reliable than most musicians wno have made conducting their lifestudy. Those who saw him conduct only in his

16 Norris, p. Szo

l a t e r years are often unjust in t h e i r estimate of his a b i l i t i e s in th is d i r e c t i o n . Before the advent o f the " s ta r conductor" (and "s tar -conduct ing" was almost unknown as recent ly as the ear ly n inet ies) Stanford was undoubtedly one of the most g i f t ed choral and orchestral d i rec tors in t h i s country, and deserves to be remembered wi th g ra t i tude as such.^'

In the spring of 1921, Stanford was s i x t y - e i g h t . He was suf fer ing

the e f fec ts of the war in Europe and the " increasing neglect"^^ he

f e l t from his own contemporaries in England. Gerald Norris reports

Stanford 's condi t ion fo l lowing the war:

. . . though Guy and Geraldine [Stanford 's c h i l ­dren] had returned safely from the war, Stanford's health continued to decl ine. Depressed, racked by nerves, exhausted from a l i f e o f immense a c t i v i t y , he had become a f r a i l ghost from a f a r - o f f age, d isor ien ta ted in a new, a l ien world.•'•^

Stanford conducted his las t concert at the Royal Albert Hall on

March 5, 1921.

"For the first time in his life he lost his nerve," writes Harry Plunket Greene. "When I arrived in the Artists' Room he said to me that he was going to ask someone else to take his place." In the end, after a strong dose of sal volatile, he found the necessary courage and "never conducted better."^^

^^Thomas F. Dunhill, "Charles Villiers Stanford: Some Aspects of His Work and Influence," Proceedings of the Royal Musical Association LIII (Jan. 18, 1927), p. 55.

^^Herbert Howells, "Charles Villiers Stanford (1852-1924), An Address at his Centenary," Proceedings of the Royal Musical Association LXXIX (Dec. 11, 1952), p. 21.

^-Norris, p. 572

^^Norris, p. 575

10

Influence as a Teacher

Stanford began his teaching career through his association with

the Cambridge University Musical Society while he was still an

undergraduate. Perhaps his first teaching assignment was to convince

the committee at the university that a full orchestral instrumentation

was needed to perform many of the works.

The committee at first considered me extravagant in such things as the engagement of four horns, and they had to be shown by ocular demonstration that those instruments were only capable of playing one note at a time each, and that the omission of any of them meant gaps in the sound. But a little experience, and the good effects produced in the exchequer by the consistently high standard of performance, soon dissipated their qualms.^-'-

Through Stanford's efforts at establishing a competent orchestra

for the Cambridge University Musical Society and through his friend,

Joachim, chamber music was also given a new importance: " . . . the

public performances of quartets and concerted pieces by finished

players gave a speedy impulse to the music-loving undergraduates, who

formed a string quartet of their own."^^ At first, Monday Popular

Concerts were about the only place chamber music could be performed.

Difficult or current chamber music was performed " . . . only

occasionally, under the pressure of Joachim, venturing . . . uDon a

later Beethoven quartet or a work of Brahms."^^

^^Stanford, Diary, pp. 116-17.

^^Stanford, Diary, p. 116.

^•^Stanford, Diary, p. 141.

11

Besides chamber music, Stanford's enthusiasm as a teacher

stimulated the creation of larger student groups.

In 1880 Mr. Richard Gompertz, one of Joachim's best pupils, settled in Cambridge, and was of the greatest help in organizing the talent of student-players. Mr. Galpin (now well known as one of the greatest authorities upon the history and construction of antique wind instruments), who was an exceptionally gifted clarinettist, was equally indefatigable in working up a local orchestra, which by his indomitable efforts reached the number of eighty-two, so complete in eyery department that it performed, and most creditably, the Kaisermarsch of Wagner in 1882, and several symphonies of Beethoven and Mozart, besides taking part in a private performance of some movements of Beethoven's Mass in D.^^

Stanford had no formal training to be a teacher other than his own

experiences as a composer, as conductor of the Cambridge University

Musical Society, and as a composition student under Reinecke and Kiel

in Germany in the middle 1870s. The methods of teaching composition at

the time were " . . . apparently ^ery limited in scope. Both master

and pupil seemed to devote the bulk of the time of the lessons to the

concoction of canons, under the impression that tortuous twisting of

the brain promoted technical facility."^^

In his Pages From an Unwritten Diary, written in 1911, Stanford

stated that "There were then [1870s] practically no schools for

composition in England,"^° and listed the conditions that were

insufficient at the time for being able to teach composition.

2^Stanford, Diary, p. 209.

^^Dunnill, Royal Musical Association LIII, p. 44

^^Stanford, Diary, p. 138.

12

. . . Not only was there in England in the early seventies a lack of means to teach composition--the man to teach it, and the surroundings which enable a student to hear and judge of his own work, (a part of the training which is even more important than word-of-mouth tuition)--but the opportunities of hearing first-rate music were far fewer.^^

Through his successes as a composer and conductor of the Cambridge

University Musical Society, Stanford was named professor of composition

and conductor of the orchestra at the Royal College of Music when it

opened in 1883. It was primarily at the Royal College of Music that

Stanford "exercised more influence in the teaching of composition than

any other musician in Britain throughout his tenure."^^

Stanford's influence as a teacher of composition can be seen by

the many fine students he tutored. The list includes Ralph Vaughan

Williams, Gustav Hoist, John Ireland, Arthur Bliss, Arthur Benjamin,

Herbert Howells, Samuel Coleridge-Taylor and Eugene Goossens, just to

name a few.

His perseverance in teaching the traditional values of his

classical tempering infuriated most of his students, especially in his

later years; however, Stanford did like some of the current styles of

music, and, as a result, his students were given a background with

which to develop their own musical identities.

^^Stanford, Diary, pp. 139-40.

^^Frederick Hudson, "Sir Charles Villiers Stanford," :Jew Grove Dictionary of Musicians, 6th ed., 20 vols., ed. Stanley Saoie ^London Macmillan, 1980), XVIII, p. 71.

13

The catholicity of taste which, perchance, led to unoriginality in some of Stanford's own creative work, was a source of strength in his teaching. He revered the early classics, belonged to both camps in the days of the stormy Brahms-Wagner controversy, admired Dvorak and Franck, was an enthusiast for the Russian school as soon as it became known here, and adored the later Verdi. Light music he loved, especially that of the French and Viennese schools. He used to insist on our going to hear the Strauss band when it came to England, and contrived once a year to put a Strauss waltz into a Royal College concert programme.^^

In teaching orchestration, Stanford used time-consuming methods to

make sure his students understood the mechanics used by master

composers. He would have his students score movements of symphonies by

Mozart from the piano arrangements and then write "in the whole of the

composer's own scoring in red ink. It was a most laborious business,

but it taught us patience if it did not invariably turn us into masters

of instrumentation. If we wanted to write songs, 'Devour your

Schubert, my boy,' was his initial command."^^

Stanford used the Royal College of Music orchestra as a teaching

tool for his students and their compositions. He taught them to

compare the sounds they were hearing with the score. When the student

conductor was unable to identify the source of a problem, he would

"whisper something like 'See what the second clarinet is doing, m'

boy', and there would be the answer. He was a disciplinarian, as one

might expect, and a quiet 'Out you go, sir' would quickly banish

^^Dunhill, "'Work and Influence" LIII, p. 57.

-^Dunhill, "Work and Influence" LIII, p. 53.

14

anybody rash enough to misbehave."^^ In addition to rehearsing

student compositions, Stanford would perform the best compositions on

concerts.

. . . Stanford's critical severity was balanced by a boyish enthusiasm for everything we did well. . . . He would take pride and infinite pains in rehearsing such works [student manuscripts] and getting them performed at concerts, and very many are the composers who have received practical encouragement that led, through Stanford's efforts, to their recognition by the world at large.^^

He never tried to stifle his students' individuality or creativity,

but, at the same time, he insisted on technical accuracy. Dr. Herbert

Howells, one of Stanford's students, characterized his method of

teaching:

For his students, learning at his feet was a blending of Paradise and Purgatory, Heaven and Hell. For the weak and timorous it was early death; for the fellow who had lost his way, Ariadne's thread. It had no high-sounding method, no sacrosanct principles. It was guidance, penance and defiance coming from a man who solved few of his own problems but was passionately concerned to solve those of his pupils. On the day of his death his pupil. Hoist, said to me: "The one man who could get any one of us out of a technical mess is now gone from us." One agreed: recalling the hovering pencil, the caustic commentary, the surgeon-like dexterity with which the keen mind cut through to the seat of trouble, and the seraphic smile^^nd childlike pride when the operation was over.-^"^

^^Norris, pp. 550-51.

^^ounhill, "'.Niork and Influence" LIII, p. 57

^^Howells, "Centenary" LXXIX, p. 31.

15

Statements made by Stanford's students indicate that he dealt with

each one on an individual basis. He had more patience with some

students than others, especially the ones who followed his own

ideal s.-^^ Samuel Coleridge-Taylor was one student with which

Stanford had more patience.

Towards the timid, gentle and self-doubting Samuel Coleridge-Taylor, he was kind and enthusiastic. After reading through Coleridge-Taylor's Clarinet Quintet, he exclaimed to the apprehensive student, 'You've done it, me bhoy' [sic]; shortly afterwards, he took the work with him to Berlin and persuaded Joachim and his quartet to play it.-^^

Although Ralph Vaughan Williams was a devoted student, his

preoccupation with modes irritated Stanford.

'I was hopelessly obstinate.' In one of their skirmishes, Stanford, feeling that Vaughan Williams was too preoccupied with modes and needed a lighter touch, instructed him to write a waltz. Vaughan Williams riposted with a modal waltz.^°

Vaughan Williams, however, was grateful for Stanford's intellectual

contributions to his education. He made the following statement in his

book, A Musical Autobiography:

When all is said and done, what one really gets out of lessons with a great man cannot be computed in terms of what he said to you or what you did for him, but in terms of the intangible contact with

34 Dunnill, "Work and Influence" LIII, p. 57.

^^Norris, p. 546

-°Norris, p. 549,

16

his mind and character. With Stanford I always felt I was in the presence of a lovable, powerful, and enthral 1ing mind.

This helped me more than any amount of technical instruction.^'

In her biography of her father, Imogen Hoist described the

appreciation Gustav Hoist had for his teacher:

He went to Stanford for composition, and week after week he was to hear that distinguished teacher say: 'It won't do, me boy. It won't do.'

This verdict acted like a tonic. He appreciated the way that Stanford insisted on sincerity, and he readily accepted the creed that a composer, however gifted, must learn his technique so completely that he can afford to forget it. He envied Stanford's genius for quoting exactly the right musical example to illustrate any point he was criticizing, and he delighted in his refusal to rely on cast-iron rules. Although he often disagreed with Stanford's opinions, he was always grateful to him, especially for having taught him to become his own critic."^°

Stanford did show compassion, even to those students who did not

display a loyalty to his teaching techniques. Harry Plunket Greene, a

lifelong friend of Stanford, related the following comments about one

of Stanford's students:

Mr. Liddle told me he had been going through a very bad time with him when he was a student under him at College and his nerves had been getting more on the edge every day. Suddenly one morning he threw down his music and said he was damned if he would stand it any longer and rushed out. The next day when he turned up at College the porter told him Sir George Grove [Director of Royal College of Music] wanted to see him. When he was shown in Grove said: "Liddle, Dr. Stanford tells me you've been working too hard and are in need of a rest. Here's five pounds. Go to Brighton and come back

^'^Norris, p. 549.

-^Norris, p. 549.

17

in a week." He came back in a week and the first person he saw was Stanford, standing on top of the steps. He said, with that twinkle in his eye we all knew well, "Are y' better m'boy?" and took him by the arm; and from that moment he was his devoted slave.-*^

The accounts of the value of Stanford's teaching methods are

varied, but the result was that many of his students became prominen

composers.

The greatest tribute to his genius as a trainer of composers is to be found in the varied character of the works of those who once passed through his hands. If his pupils had emerged as pale reflections of his own ideas his teaching might well be condemned. But it is not so. Draw up a list, haphazard, of the most prominent British composers of recent years, in every branch of writing, and you will find that it consists principally of Stanford's pupils.^^

In addition to recognizing the compositional talent of his

students, Stanford also recognized the literary qualities of his

student, Edward Dent.

As a student, with hopes of becoming "the world's next great composer," Dent had been advised by Stanford, "I tell ye what ye ought to do; why don't ye translate operas? Ye write very good English, and y're quite musical." At length. Dent took up this suggestion and became probably the most celebrated of all Mozart translators. "Stanford was always right; but it sometimes took one a very long time to convince oneself of that."

^^Dunhill, "Work and Influence" LIII, p. 63,

"^Oounnill, "'work and Influence" LIII, p. 56

^^Norris, p. 573.

18

Dent, who replaced Stanford as professor of composition at Cambridge in

1926, recalled in 1934:

I believe I can honestly say that I think of Stanford every day at Cambridge; I am always trying to pass on to my composition pupils what he taught me, and I know that the immense respect in which Music (as a University Department) is now held by the Council of the Senate and similar authorities (even when they are individually unmusical) is all due to Stanford's struggles in the face of opposition long ago.^^

In his later years, Stanford's unvarying principles presented an

ever increasing problem for his students due to the quickly changing

world of composition. An assessment is given by Thomas Dunhill:

Towards the end of his life, no doubt, Stanford failed to sympathise with the aspirations of many of his pupils--or perhaps we should say that his pupils sometimes became impatient with the ideals he set before them, which seemed to them but dead relics of bygone days. This was inevitable. . . . After all he was, as most of us are, a man of his own generation, and it is too much to expect that he should have been ready to applaud the methods of those who seemed to him to have come to destroy and not to fulfil. We can admire him, I think, for his staunch devotion to principles which he regarded as sacred, and forgive his angry denunciations, which were born of a love of beauty as he saw it.^^

"Born of a love of beauty as he saw it" was a guiding factor

thoroughout Stanford's life, not only as a teacher, but in all areas of

his career. Born an Irishman, Stanford had retained his early

experiences with folksong in its simplicity of phrasing.

"^^Norris, p. 573.

'^^Dunni l l , "Work and Inf luence" L I I I , pp. 59-60,

19

Stanford quitted Dublin while yet in his teens: seemingly turned his back upon the country of his birth before he had grown to maturity under its shaping influence. But not all the waters of Cam or Thames or Oder or Rhine could dilute the Irish blood in his veins. To the end, his innermost mind and secret heart were on the fringe of Loughareema and in the glens of Antrim. Ireland was, in fact, an abiding nostalgia in him.^^

After meeting Stanford in 1888, Harry Plunket Greene commented on

discovering Stanford's "semi-miraculous teaching powers":

We were smoking after supper when he asked me if I knew the tunes in the Songs of Old Ireland volume which he and Alfred Graves had brought out between them some time before [1882]. I was more or less German minded still and had never heard of them. He sat down at the piano and played them to me one after another. He began with 'My Love's an Arbatus' and went on with 'Owen Roe O'Neill' and 'The Flight of the Earls' and 'Emer's Farewell' (the Londonderry Air) and 'When She Answered Me'. When I think back on it now I can understand the secret of his semi-miraculous teaching powers. I remember that he never said a word as to how the tunes should be handled; yet with his playing he seemed to reveal not only how they should be played but how all music should be felt. True phrasing is not a mechanical act made by order of the intelligence; it is a trained response to an emotional call. Only a man so completely unself-conscious as he could work such magic with the 'beauty will out' which came warm from his singing touch and showed in the lines of his architecture. It was a lifelong lesson, over in an hour or so, and given without a word.^^

The effect of criticism and neglect that Stanford received in his

later years was recorded in an address to the Royal Musical Association

-^'^Howells, "Centenary" LXXIX, p. 19

"^-Norris, p. 542.

20

by Dr. Howells on December 11, 1952. It was an address on Stanford's

centenary.

. . . I knew Stanford vitally and directly only for twelve short years--his last twelve . . . I knew him, indeed, in the days of his increasing neglect, a neglect he continually felt. It hurt him. So that the man I worked with then, was, in a way, the shadow of the paramount figure that for forty years had been a major driving force in the creative and interpretative life of the nation's music. His paramountcy as composer was, as it were, only a sort of legend to me.^^

Many of Stanford's "denunciations" from his later years are

recorded in the essays and articles he prepared for periodical

publications, in letters, and particularly in his six published books.

All of his books were published after 1907.

In his Pages From an Unwritten Diary (1914), Stanford recalled his

bitterness toward England for not providing funds for a state-operated

opera house when the Royal College of Music was established in 1883.

When England woke up to her deficiencies and opened her purse, she spent the contents upon education and forgot to insure the career, which would ipso facto have furnished the incentive to work, and provided the school to prepare for it. To this short-sighted British policy we owe the main reason for our musical isolation. We remain and seem likely to remain the only European nation without a National Opera.^'

Stanford was critical of the direction that musical composition

had been taking in recent years. He gave many lectures on the value of

composition, using folksongs to establish a national heritage, not only

^^Howells, "Centenary" LXXIX, p. 21

^''Stanford, Diary, pp. 138-39.

21

of Great Britain but other countries as well. He spoke favorably of

composers like Dvorak, Tchaikovsky, Brahms, Beethoven, Mozart, Bach,

Schumann, Schubert, Mendelssohn, Verdi, Moussorgsky and others that

used their national heritage in composition. On the other hand, he was

very vocal in his denunciation of composers who lacked thematic

imagination in writing and developing melodic lines. Composers such as

Richard Strauss were condemned quickly by Stanford for the lack of

melodic invention and the use of flamboyant orchestral effects at the

expense of clarity of line.

Richard Strauss has given in 'Till Eugenspiegel' [sic] a typical specimen of this process. Beginning with a more or less undiluted specimen of folk-song, he launches out into permutations and combinations which entirely obliterate its memory from the mind of the listener, and at the close perforce repeats it again to save his skin. The mass of the composition is ignorant of it, and refuses to consider any connection with it save in a distorted and unnatural guise.^^

Even though Stanford was a great admirer of Bach and Beethoven, he was

disturbed by the direction that German composers had taken in the last

two hundred years. His classic ideals on melodic line and the decay of

these ideals is characterized in the following statement:

The Parthenon did not need other than plain Doric columns. As the decadence of Greek architecture showed itself as soon as ornate decoration began_to get the upper hand, so was the art of Bach and of Beethoven showing in its latest German forms, as exemplified now particularly by Richard Strauss, a similar down-hill tendency. The big line, melody, most important of all, was becoming a consideration quite secondary to the setting in which it was

^^Charles Stanford, "Some Thoughts Concei^ning Foik-sonc and Nationality," Musical Quarterly 1/2 (1915), p. 243.

22

placed: as a natural consequence, its continuity and swing were gone; little snaps of theme taking the place of extended phrase, and even these lost in the welter of orchestral colour and the sonority, not to say noise, produced by modern musical machinery.'^^

In the prefatory notes to Musical Composition, Stanford clearly

reflects the teacning methods he used with his students:

It only attempts to give such advise as a master might find useful in teaching (or rather in controlling) a student of composition; and it is, to some extent, a resume of the experience of twenty-five years in watching and criticising the efforts of many young men . . . Many of them will recognise old friends in the pages of this book, and it is in the hope that these old friends may make new acouaintances, and be of some service to them . . .50

According to Thomas Dunhill, Stanford's dedication of Musical

Composition is a tribute to his students for sustaining his interest in

teaching through the years.

Published in 1911 this volume was the fruit of his long experience as a teacher, and presents an epitome of his methods, clearly set forth with no didactic heaviness or pedantry. Stanford's dedication of this treatise to those who "in learning from him, have taught him how to teach, and by their unvarying loyalty and keen endeavour have minimised the anxiety and magnified the interest of his labours on their behalf," is a pretty compliment to us all--out it is more than this. It shows that he did not allow the giving of

49 Stanford, "Folk-song" I, p. 235.

^^charles Stanford, Musical Composition: A Short Treatise for Students (London: Mac:niilan ano Stainer ano 3eii, 1911/1945j, pp. VI l - V l 1 1 .

23

lessons to have a deleterious effect upon him. It was no mere routine-work which had to be got through, but a series of daily experiences which helped to keep his soul alive.^^

Because of his international reputation as a teacher and composer

at Cambridge University and the Royal College of Music, Stanford was

the motivating force in establishing the tradition of inviting major

composers to Cambridge for the purpose of receiving an honorary

doctorate in music which, up until that time, had been reserved for

British citizens only. The University already had a long tradition of

honoring major figures in other fields such as law, science and

1iterature.

Stanford's first attempts in luring a major composer to Cambridge

failed when Brahms declined his invitation in 1877; however, he did

manage to secure the first performance in England of Brahms' First

Symphony with the Cambridge University Musical Society. The first

prominent composer to accept an invitation was Dvorak. In addition to

receiving the honorary doctorate, Dvorak conducted his Stabat Mater and

Eighth Symphony on a Cambridge University Musical Society concert in

June of 1891.52

For the fiftieth anniversary of the Cambridge University .Musical

Society in 1893, Stanford secured invitations for both 3ranms and

Verdi. Brahms declined the invitation again because of his fear of

^^Dunhill, "'. ork and Influence" LIII, p. 56

5'^Norris, p. 63.

24

overt publicity and fear of crossing the English Channel in a letter to

Stanford, dated February 23, 1892.

My dear and very honoured Sir, I find it hard to take up my pen, for how can I

speak of my deep gratitude and at the same time say 'No'? And yet I am earnestly and sincerely grate­ful to you for your kindness and to your university for the signal honour that it affords me, but it would still have to be 'No' in July [by which time Stanford asked for a final decision], whether I keep the fact from you and from myself today or whether I later try to talk myself out of it.

But please think kindly of me; I cannot come to Cambridge without also going to London, and how much there would be for us to see and do together in London -- but all at the height of beautiful summer, when you, too, would surely prefer to go walking with me beside some lovely Italian lake.

How tempted I am to accept your invitation. I know it will be an especially charming festival. Yet would I not run the risk of being put to shame by old man Verdi, who would probably surpass and abash me in both youthfulness and gratitude?

But were I now to yield to my inclination and promise you I would come, I know too well that, when the time at last arrived, I should find it impossible to face the journey and all that it must inevitably entail.

Please forgive me in as kind and friendly a spirit as you can. Scold me a little, laugh at this ponderous stick-in-the-mud, but never think of me as either indifferent or ungrateful.

Yours sincerely devoted, J. Brahms^^

Verdi also declined because of his age and declining health. "I wisn

that I were aole to accept this very rare distinction, yet I must,

despite myself, refuse, not daring, at my age of almost 80, to

undertake so long a journey. " "

5^Norris, p. 101

-"^Norris, p. 1^4

25

In an attempt to avoid the embarassment of inviting one or two

lesser composers, invitations were issued to represent the countries of

France, Germany, Italy, Russia and Norway. The five composers selected

were Saint-Saens, Bruch, Boito, Tchaikovsky and Grieg. Each composer

accepted his invitation; Grieg was unable to attend, however, because

of ill Health.55

The concert took place on June 12, 1893, with the conferring of

degrees taking place the following day. The presence of these

composers in England generated many other concerts, mostly in London.

An article in Saturday Review on June 24, 1893, states that "during the

last six weeks concerts have been given at an average of nearly fifty a

week."5o

After the jubilee of 1893, Stanford resigned his conductorship of

the Cambridge University Musical Society. Although remaining as

Professor of Music at Cambridge, he began concentrating more on his

duties in London at the Royal College of Music and with the London Bach

Choir; however, Stanford's influence at Cambridge remained for many

years.

Grieg was able to travel to Cambridge in 1894 to receive the

honorary doctorate. "Grieg's arrival in Camoridge made few demands on

Stanford. As Professor of Music, he had to attend the degree ceremony.

""Norris, p. 383

"°Norris, p. 385

26

but, beyond that, nothing was really required of him."57 In the

years following, Stanford secured an invitation for Edward Elgar, in

1900, and Alexander Glazounov, in 1907.

Influence as a Composer

Stanford made contributions to every major genre of music,

including opera and chamber music.

Stanford, must surely be accounted the most versatile of the composers of the later half of the nineteenth century. There was no department of music in which he did not seek to challenge comparison with the giants of his age. Indeed there was only one contemporary composer who could have ventured to dispute this special claim to distinction--the French master, Saint-Saens--and it is doubtful if even he succeeded in enriching the art of music in so many directions, or displayed so complete a technical mastery in every sphere. In Opera (both serious and light), in Oratorio and Cantata, Symphony and Concerto, Chamber Music and Church Music, unaccompanied part-songs, instrumental and vocal songs of almost every type, and music for children of all ages, Stanford has left his mark, a mark which can never be erased.5°

His opus numbers approach two hundred in addition to the many works to

which he did not give numbers. Many of Stanford's compositions have

not been published and exist in manuscript only. His catalog of over

three hundred works includes: oratorical wor:<s, 32; churcn music, -2;

operas, 9; theatre music, 7; symphonies, 7; works for solo

instrument(s) with orchestra, 12; orchestral works, 14; cnamber music.

5^Norris, p. 538.

SSounhill, '", 'ork and Influence" LIII, p. ^6

27

35; piano solos, 22; organ solos, 20; part songs, 32; songs with piano,

58; editions and arrangements, 14.5^

Prior to going to Cambridge in 1870, Stanford had received a

background in playing the piano, the organ and the violin. He studied

composition in Dublin with Michael Quarry, Robert Stewart, Joseph

Robinson and Arthur O'Leary. "He is credited with the composition of a

song. The Venetian Dirge, at the age of four, and with giving a piano

recital of pieces by Handel, Beethoven, Mendelssohn, Mozart and Bach

when he was nine."^^ In his Pages From an Unwritten Diary, Stanford

had particular praise for Michael Quarry, who:

. . . opened my eyes to Schumann whose music I had never seen; to the choral works of Bach, and to Brahms. We spent hours over four-hand arrangements of the Brahms Serenades, the Sextets and Hungarian Dances; and he taught me the Handel Variations and even the D minor Concerto. It was a new world which opened to my eyes when I first read the St. Matthew Passion, which till then had never penetrated to Ireland.°-'-

During his early years as a student in Ireland, Stanford received a

musical background from Quarry and his other teachers that had a life

long effect on his compositional style.

55Frederick Hudson, "A Revised and Extended Catalogue of the Works of Charles Villiers Stanford (1852-192^)," Music Review XXXVII (1976), pp. 106-128.

^^Hudson, New Grove, XVIII, p. 70.

°^Stanford, Diary, pp. 75-76.

28

It is clear that all this wonderful music, which he came to know long before it was recognised by most British musicians, had a tremendous effect upon the youthful composer. These early influences never lost their spell, and are to be traced in Stanford's works up to the very last.52

The large output of chamber music by Stanford indicates his

artistic commitment to the smaller forms of music.

No doubt, as the first considerable British composer to write chamber music of importance (if one or two polished, but rather complacent, examples by Sterndale Bennett be excepted), he felt the responsibility of his isolated position. However that may be, Stanford made up his mind from the first that in this domain the lead of the great German masters was the only lead worth following. He adopted their principles root and branch, and never ceased to pay tribute in his writings to what he felt to be the proven wisdom of prescribed structural design.5^

The reason for Stanford's adoption of German principles in his

compositions is a result of his social position, both in Ireland and in

England. "In former times the English middle classes acted as the

catalyst for musical adventure. . . . To get by in the social round,

the British composer needed to resemble his betters."^^ According to

Percy Young in A History of British Music, Stanford believed in Irish

superiority and a lack of national expression on the part of the

Engli sh.

62 Dunhill, "Work and Influence" LIII, p. 43,

^^Thomas F. Dunhill, "Sir Charles Villiers Stanford," Cobbett's Cyclopedic Survey of Chamoer Music, 2nd ed., 3 vols., ed. Waiter .-i. Coooett (London: Oxford University Press, 1963), II, p. 452.

^'^Percy M. Young, A History of British Music (,'lew Yor:<: 'A. A. Norton, 1967), p. 517.

29

. . . Stanford was a patriotic Irishman. As such he believed in the superiority of the Irish to the English, but, because of his social origin, felt obligated to associate himself with those among the English who held it as a high responsibility to keep the majority of the Irish in subjection. Thus Stanford's Irishness was vitiated by a disbelief in any vital form of national expression. . . . But before Ireland made any obvious impression on his music he had thoroughly schooled himself in styles that were antithetical to all that truly Irish music was. And, for that matter, to everything that English music should have been.55

In Stanford's choice of the Germanic style, "one may discover that

the influence of Brahms is writ large upon many of his instrumental

works. The composer himself would probably not have trouble to deny so

wholesome an impeachment."55 in Stanford's chamber music, "even more

consistently than in his orchestral work, the classical methods

prevail,"5/ and through his attention to detail, " . . . the smaller

the form the more exquisite the workmanship."5°

. . . seeing that so large a proportion of Stanford's most important output was cast in a mould [sic] which precluded the thought of any bid for popularity, one approaches these works with a certain expectancy, hoping that here may be found the expression of the composer's most intimate ideas, his best workmanship, his most personal touch.59

55Young, British Music, p. 517.

55Dunhill, Cobbett's, p. 452.

5^Dunhill, "Work and Influnce" LIII, p. 51.

58Henry C. C o U e s , The Oxford History of Music, 2nd ed., 7 vols (London: Oxford University Press, 1934) Reprinted py Cooper Square Puolishers, New York, 1973, VII, p. 483.

55Dunnill, Cobbett's, pp. 451-52.

30

Stanford was not interested in experimenting with new forms in chamber

music and was "evidently bent on writing not for his own day, but for

all days . . ."^0

Except for two compositions that use larger instrumentation,

Stanford's chamber music consists of solos with piano, trios, quartets

and quintets for various comoinations of strings, clarinet and/or

piano. His Serenade in F major. Op. 95 (Nonet), is written for flute,

clarinet, horn, bassoon, two violins, viola, cello and bass, and his

Minuet in B-Flat Major is written for flute, clarinet, horn, two

violins, viola, cello and harp ad libitum. He wrote sonatas or solos

with piano for cello, violin, and clarinet. Stanford also wrote a

violin version of his Three Intermezzi for clarinet and piano, a viola

version of his Sonata for clarinet and piano, and a cello version of

his Five Characteristic Pieces for violin and piano. Each of his three

trios is written for violin, cello and piano. Of Stanford's quartets,

eight are string quartets and two are quartets for violin, viola, cello

and piano. The quintets consist of one piano quintet, two string

quintets for two violins, two violas and cello, and two clarinet

quintets. Fantasy in G Minor and Fantasy in F Major for clarinet and

string quartet.

In the large amount of instrumental chamoer music that Sir Charles Stanford wrote, there is full evidence of the more serious aspects of his genius. Few of his works in this form have become really

^^Dunhin, '"/Jork and Influence" LIII, p. 51.

31

well known outside a limited circle . . . The fact that Stanford laboured so earnestly in the cause of chamber music, and produced such a large number of important works, must have considerable weight.^-^

"Stanford had a greater faith in the value of opera than had most

of his countrymen at the time."^^ ^ g ccmposed more than nine operas,

despite the fact tnat opera in England ,'iad never been successful.

In England Opera is not a tempting form for any composer to exploit, for it seems fore-doomed to failure from the beginning. It is scarcely necessary to dilate upon the neglect with which our impresarios and our public have treated the few serious music-dramas that native composers have written. . . . Stanford certainly strove his best, not only to add to the supply, but to break down the barriers and storm the citadel of indifference.'^

Stanford's first opera, The Veiled Prophet of Khorassan, was given

its first performance in Hanover on February 6, 1881, with performances

in other German cities. It was not produced in England until thirteen

years later where it was sung in Italian.^^ The only opera by

Stanford that was successful in London was Shamus O'Brien, a Singspiel.

Produced in 1896 at the Opera-Comique, it had a run of fifty

performances which "was sufficient to prove that Stanford had not

mistaken his gift for the stage."'5 His last opera, The Travel 1ing

Companion (1919), is based on a fairy tale by Hans Christian Andersen.

^^Dunhill, Cobbett's, p. 451.

^^Hudson, New Grove, XVIII, p. 72.

^^Dunnill, "'Work and Influence" LIII, pp. 46-7.

''^Young, British Music, p. 519.

^5colles, Oxford History, VII, p. 431.

32

The libretto was adapted by Henry Newbolt. Stanford was proud of the

recognition he and his students received from the Carnegie Trust.

It was printed amongst the first batch of works published under the scheme of the Carnegie Trust. He was very proud of being included in the list--and even more proud of the fact that five out of the six other composers who were chosen were his pupils. On the day that the awards were made public he said to me, with a smile of unaffected delight, "Well, my boy, and what do vou think of the old hen and her five chickens?"^°

In addition to opera, Stanford also composed music for the

theatre. His first experience in this genre came as a result of an

unexpected invitation from Lord Alfred Tennyson to write music for the

poet's first play. Queen Mary (1876). "The commission was initiated by

the poet himself, then sixty-five, who had learned of Stanford from his

sons Hal lam and Lionel; coming from one of the titans of the day, it

conferred a signal honour on the young composer."'' Stanford also

wrote the music for Tennyson's Beckett in 1893. It was, however, the

music to the Greek plays, Eumenides (1885) of Aeschylus and Oedipus Rex

(1887) of Sophocles that "took Cambridge by storm, and had much to do

with consolidating his position as a composer of the first rank."'°

When Stanford became the conductor of the Cambridge University

Musical Society in 1873, he was also became the organist at Trinity

College in Cambridge. Trinity College granted Stanford a leave of

absence to study abroad in the second half of 1874 and in each of the

^^Dunhill, "Work and Influence" LIII, pp. 47-8,

''Norris, p. 35.

^Sounh i l l , "\4ork and Inf luence" L I I I , p. 45.

33

two following years. In November of 1874, Stanford wrote a

commemoration anthem. In memoria aeterna erit, "possibly written for

the commemoration of benefactors at Trinity College."'^^ His skills

as an organist and composer enabled him to introduce a new style of

music to the Anglican Church. "He was the only musician of his

generation who made a substantial addition to the long tradition of

English church music, and in that respect he must be regarded as the

successor to S.S. Wesley."^^

His Service in B Flat, Op. 10, made a quick entrance into the

services of the Anglican Church when introduced in 1879. It "set a

higher standard in English church music than had been achieved for 200

years."^^ With its symphonic-cyclic treatment, Stanford "gave the

organ a vital and significant part. These, and his fine anthems and

motets, enriched cathedral music and have maintained their place in the

repertory."^2 Stanford's Service in B Flat and others from 1880,

1889, 1904, 1909, and one published in 1923, are more than expressive

renderings of devotional words. "They have musical form in the

development of salient themes. The technique of a symphonic structure

is applied to them without transgressing the limits of time imposed by

the 'short service' of the Elizabethan era."°^

^^Hudson, New Grove, XVIII, p. 70.

2°Colles, Oxford History, VII, p. 482.

Q^Hudson, New Grove, XVIII, p. 71.

32Hudson, New Grove, XVIII, p. 71.

^^Colles, Oxford History, VII, p. 433.

34

Stanford also wrote religious music in Latin, including a Mass in

^ '" JQ* (1893), a Requiem (1897), in memory of Lord Leighton, a Te Deum

(1898), and a Stabat Mater (1907), all for soli, mixed choir and

orchestra.

The Stabat Mater, designed in four vocal movements, with a turoulent orchestral interlude picturing the darkness of the scene on Calvary as centre-piece, is one of the most deeply-felt and original works of the kind, even though it is difficult to remember in listening to it that it is not the direct product of Italian Catholicism.^^

Many of Stanford's choral works were written for the music

festivals in England. The Revenge (1886), Songs of the Sea (1904) and

Songs of the Fleet (1910), were written for the Leeds Festivals and are

still performed in England today.^5 The influences of Stanford's

choral music set new standards for those who followed him.

Choral music is a great English inheritance, and it may truly be said that Stanford, in works of this calibre, did not merely Cd^rry on a great tradition worthily. . . . he set a new and a higher standard to those who should follow him. In the elevation and purity of his style, in the clear ideas and healthy workmanship, free from all taint of eccentricity or pose, we have an example of British musical achievement which not only guided and inspired many of his contemporaries, but influenced the explorations of his successors in the same paths of art.35

His solo songs, partsongs and arrangements were written " . . .

with a touch of surety which none of his contemporaries approached, and

84 Colles, Oxford History, VII, p. 482

^5Young, Br-tish Music, p. 517.

86 Dunhill, "Work and Influence" LIII, p. 49.

35

none of his successors surpassed."^7 His workmanship in the use of

Irish folk melodies " . . . made him supreme as a writer of solo songs

with piano accompaniment."^8

It is safe to say that no one has approached Stanford in Irish music, either in the new settings he has provided for the old folk-tunes of his race, or in those songs in which the melodies (no less truly national) are entirely his own.'^^

Stanford's partsongs and solo songs with piano "reached near perfection

both in melodic invention and in capturing the mood of the poem

. . ."^0 "jhe best of Stanford's Irish songs are effortless. Such

things as The Fairy Lough, Cuttin' rushes, and Grandeur give the

impression that not a note could have been differently placed without

detriment."^l His partsong settings of Six Elizabethan Pastorales in

three series from 1892, 1894 and 1897, "are marked by an exquisitely

polished delicacy that perhaps no other modern English musician has

equal led."92

Stanford's editions and arrangements of Irish folksongs are

numerous. Songs of Old Ireland (1882) is a collection of fifty

folksongs for voice and piano. From 1889 and 1893, respectively, are

S^Dunhill, "Work and Influence" LIII, p. 53.

SScolles, Oxford History, VII, p. 483.

S^Dunhill, "Work and Influence" LIII, p. 53.

90Hudson, New Grove, XVIII, p. 72.

91colles, Oxford History, VII, p. 484.

92Ernest Walker, A History of Music in England, 3rd ed., ed. J.A. Westrup, Reprint, 1966 ^Loncon: Oxford university P^ess, 1952), p • 0 - % •

36

Blarney Ballads and Irish Songs and Ballads. In reference to Moore's

Irish Melodies Restored for voice and piano (1895), John F. Porte said,

" . . . the editing and arranging much pleased Brahms, who compared it

with the original edition he numbered among the best loved treasures of

his musical library."^3 Songs of Erin (1901) is a collection of

fifty Irish folksongs for voice and piano. The Petrie Collect-on of

Irish Music (1902-5), in three volumes, contains 1582 folksongs edited

for The Irish Literary Society of London. Patrick W. Joyce, in the

preface to his book. Old Irish Folk Music and Songs (1909), lists the

contents of Stanford's edition:

In this book are included (1) many airs previously published in Petrie's "Ancient Music of Ireland" (1855); (2) many that are contained in Hoffmann's edition of another part of the Petrie collection (1877); (3) many of those which were published for the first time in my [Joyce] "Ancient Irish Music" (1872) . . . and (4) a number--forming the great body of the collection--of airs that had not appeared in print before.^^

Two other editions worth mentioning are Stanford's arrangements of

songs for school children: Class Singing for Schools and The National

Song Book (1906), containing 213 folksongs. A second edition. The New

National Song Book, was prepared by Geoffrey Shaw in 1938, and the

third edition was prepared by Herbert Wiseman and Sydney 'lorthcote in

1958. In the extract of Stanford's preface to the original edition,

Stanford made comments for the value and use of the songs:

^^Hudson, "Revised Catalogue" XXXVII, p. 125.

9^Patric:< W. Joyce, Old Irisn Folk Music and Soncs ('Jew Yor:<: Coooer Square Publisners, 1955) p. vi.

37

The first first thing in music which appeals to the human being is Rhythm, and it is only by fostering and building upon this that a truly musical spirit can be infused into the nation. The children of to-day will be the men and women of to-morrow, and according to the training of its children, so will the power of the nation be.

Many of the poems in this book are in themselves fine literature. The lyrics of Shakespeare, Ben Jonson, Burns, Moore and others are to be found wedded to these airs. If children first learn the poem, it will not only increase their appreciation of poetry, but also help them to master the lilt and rhythm of the tune . . .^5

Prior to his arrival at Cambridge in October, 1870, and before his

eighteenth birthday, Stanford composed a Concert Overture for full

orchestra which is dated July 30, 1870, and is "almost his earliest

surviving autograph."^5 His next purely orchestral work. Symphony

No. 1 in B-flat major (1875), was composed after he graduated from the

University of Cambridge in 1874 and during the time of his studies with

Reinecke in Leipzig. In 1876, it was awarded second prize in a

competition held by the Alexandra Palace for "the two best Orchestral

Symphonies to be written by British composers."^7

In all, Stanford composed seven symphonies. His Second Symphony

in D minor ("Elegiac"), written in 1882, was inspired by Tennyson's

95charles Stanford and Geoffrey Shaw, The National Song Book, (London: Boosey and Co., 1906), Revised ed. by Sydney Nortncote and Herbert Wiseman, The New National Song Book, (London: Boosey and Co., 1953), p. iv.

95Hudson, New Grove, XVIII, p. 70.

97:iorris, p. 36.

38

In Memoriam. It was his Third Symphony in F minor ("Irish"), composed

in 1887 and using Irish folksongs, that brought him international

recognition.

The slow movement is one of the most moving in all British music, while the finale, riding to a brilliant conclusion with 'Let Erin Remember the Days of Old' blazing out on the four horns, is totally irresistible. The Irish Symphony brought Stanford world-wide fame. Within a year it had been heard three times in London, as well as in Birmingham, Bradford and Norwich. The German premiere in Hamburg was shortly followed by two performances in Berlin. It was also played in Brussels, Rome, Bologna and other European cities; by May 1888 it had been given twice in New York and once in Boston. When the Concertgebouw was opened in Amsterdam [1888], the Irish Symphony was chosen to conclude the first concert . . .°

In January of 1889, Stanford conducted the premiere of his Fourth

Symphony in Berlin on an "all-Stanford programme."^^ The Fifth

Symphony (1894), based on Milton's L'Allegro ed il Pensieroso^Q^ and

Stanford's first symphony to be premiered in London, was presented on

March 20, 1895, with the Royal Philharmonic Orchestra. Stanford's

Sixth Symphony (ca. 1905), written in memory of G.F. Watts, was his

favorite of all seven symphonies, according to Harry Plunket

Greene,^^^ and he was pleased with his Seventh Symphony (1911)

^^Norris, p. 52.

^^Norris, p. 552

lOCounnill, "'./ork and Influence" LIII, p. 50,

101^Io^ris, p. 555.

39

because " . . . he had succeeded in writing a full-blown Symphony which

took less than twenty-five minutes to perform!"^^2

Other orchestral compositions by Stanford include Festival

Overture in B-flat for the Gloucester Festival in 1877 and Serenade in

G major for the Birmingham Festival in 1882. His Installation March of

1892, composed for the installation of the Duke of Devonshire as Chan­

cellor of Cambridge University, shows his humor with the use of

folksongs.

This [Installation March] not only quotes the 'Cambridge Chimes', 'Auld Lang Syne', 'Rule Britannia' and 'Let Erin Remember the Days of Old', but eventually sets 'Gaudeamus igitur' in hilarious counterpoint with 'D'Ye Ken John Peel', a droll way of introducing the Duke to his Vice-Chancel lor, John Peile.l^^

Stanford wrote six compositions under the title of Irish Rhapsody.

Numbers one, two, four and five, from 1901, ca. 1903, 1914 and 1917,

are all for full orchestra. Number three, from ca. 1915, is for cello

and orchestra and number six, from ca. 1923, is for violin and

orchestra.

Stanford's Irish Rhapsodies, founded on the tra­ditional airs of his native land, will, I believe, outlive all his longer orcnestra! works. . . . None of the rhapsodies are really rhapsodical. They are skilfully developed movements, perfectly proportioned and balanced with the greatest regard for thematic cohesion. This is not, however, the really vital quality which distinguishes them. Nothing Stanford did, except some of his songs.

^02ounhill, "',>lork and Influence" LIII, p. 50.

lO^Morris, p. 282.

40

makes so strong an appeal, by reason of the wild poetry which is in them. The scoring, too, is more inspired than that of the symphonies, more full of light ana shadow, of colour and glamour.^^^

In addition the previously mentioned Irish rhapsodies for cello and

violin, Stanford wrote Ballata and Ballabile (1919), for cello and

orcnestra. Suite in D major (1889), for violin and orcnestra (dedicated

to Joseph Joachim), and Irish Concertino (1919) for violin, cello and

orchestra. Other compositions for solo instrument and orchestra

include two concertos (1904 and 1918) for violin. Concerto for clarinet

(1902), Concert Variations on "Down Among the Dead Men" (1898) for

piano and three concertos for piano. The Concerto No. 1 (1896) and

Concert Variations for piano were first performed by Leonard Berwick.

Percy Grainger and Stanford also performed the variations at a

Philharmonic concert in 1904. The Concerto No. 2 (1911) for piano was

first performed by Harold Bauer at the Norfolk, Connecticut [Virginia]

Music Festival in 1915.^^5

Stanford wrote a variety of works for solo piano, including a

sonata (1887), a number of character pieces, forty-eight preludes in

seven series, two fugues, and two volumes of easy piano arrangements of

folksongs. His works for solo organ include five sonatas and a variety

of fantasias, preludes and intermezzi. The great majority of

Stanford's works for solo piano and organ were composed after he

resigned his conductorship of the Cambridge University Musical Society

lO'^Dunhill, "Work and Influence" LIII, p. 50.

-05Hudson, "Revised Catalogue," XXXVII, p. 115. Nor-is, p. 560, incorrectly lists the state as Virginia.

41

in 1893. The same can be said for his operas, his works for solo

instrument(s) with orchestra, his works for orchestra (not symphonies),

his chamber music, his part songs, his songs with piano, his editions

and arrangements, all of his books and his essays and articles.

Stanford's career as a composer, at least in productivity, can be

divided into at least two periods with the second period beginning

after the Cambridge University Musical Society Jubilee. "In speaking

of Stanford's second period, we can possibly even put an exact date to

its beginning: 12 June 1893, the day of the jubilee concert, on which

he resigned the conductorship of the CUMS."1°5 ^-j-j ^^^^ ^^^^ f^^

composition, Stanford produced some of his more important works during

this period. "The second half of Stanford's life realised a greater

number of important compositions, but was less rich in external

excitement. There were fewer memorable encounters with other artists,

for the heroes of his youth were passing away."107

If a third period could be established, it would be as a result of

his declining health in the last ten years of his life. Stanford's

decline was, in part, caused by his distress with the war in Europe.

Harry Plunket Greene noted the changes in Stanford during his last

years:

Looking back on i t now, i t becomes p la in that from th i s time he headed slowly downward. I t was impercept ible at f i r s t . He car r ied on wi th his work and taught and conducted and examined apparently as well as before, but as time went on

lO^Norr is , p. 540,

lO^Norr is , p. 552,

42

the boundries of his interest seemed gradually to shrink, giving one the feeling that he was concerned only with the things in front of him and that t^hose on either side passed him by unnoticed • • •

Even though Stanford's health continued to decline, he continued

composing until the last year of his life. Almost half of his

compositions were written between the years 1893-1914. The other half

were divided almost equally between his early and later years.

It was as a composer, assuredly, that Stanford himself would most have desired to be remembered. I believe he was devoid of what is commonly called conceit as he was intolerant of that defect in others, but his sincere pride in his work, his conscious endeavour to uphold ideals of dignity and purity of expression in all he wrote, were never hidden from those who knew him by any mock-humbleness, and it was obvious that composition was the foremost interest of his life.109

Stanford's abilities and dedication to a life-long career in

composition are summarized by Thomas Dunhill:

It is indeed surprising that with his manifold activities in various capacities . . . his output as a composer was so continuous. Whatever else claimed his ardent attention . . . the time he reserved for creative work was seldom allowed to be disturbed. Until practically the end of his life the fresh morning hours of every day were set aside for musical composition. The writing of music thus became a regular habit with him. The result was the acquirement of a technical facility whicn was not possessed by any of his contemporaries. The ease with which he trampled over all difficulties and rode straight ahead with unhesitating purpose reminds one of Mozart. He scarcely ever made a sketch. Even complicated orchestral works were

10a^|Qp^,;5^ p. 562.

105r)unhi l l , "'^ork and Inf luence" L I I I , p. 43

4 1

written straight into the score, in ink, without previous preparation. He scarcely ever made an alteration, or needed to make one. His thought flowed as rapidly as that of an ordinary mortal when writing a letter. . . . He was always extraordinarily susceptible to the music of other composers, and some of his compositions are undeniably of a composite blend, which, I think, is unavoidable when a very impressionable composer allows himself to put his first thoughts on paper without previous subjection to a prolonged self-criticism. This was the obvious defect of his great qualities. In many of his works, however, particularly those dealing with concrete poetic imagery, with the sea, and with Irish romanticism, he was entirely himself.11^

In A History of British Music, Percy Young characterizes

Stanford's compositional style:

There is virtually nothing that he wrote that does not sound musical. He was, of course, an excellent craftsman. He constructed his symphonies and chamber music after classical precedent, and with frequent deference to Brahms . . . He had a sure ear for sonorities, both instrumental and vocal. He adjusted tonalities to moods with an instinct for colour effect that was frequently and sometimes moving. He had the gift of melodic invention. And he had wit. Unfortunately he came to maturity some twenty years too late. There are two criteria here to be taken into account. Within the British context Stanford was phenomenal: the standard bearer of modernity. Within the European context (and Stanford kept his eyes on the wider scene) he said very little that had not been, or was not being, better said by indisputably greater composers.m

The fact that many of Stanford's works have been given only a few

performances " . . . cannot be taken as the measure of what survives of

llOgunhill, "'/iork and Influence" LIII, pp. 45-5

lllyoung, Sr'tisn '' usic, pp. 521-2.

44

his art. The life of a large proportion of it may be held to be

latent; because conditions have not been favourable it has never been

presented to the public."112

The remainder of the study will concentrate on Stanford's

compositions for the clarinet. Specific emphasis is placed on his

autograph materials, other important manuscripts, and published

editions. Because he wrote directly into the scores, with no notes and

only a few revisions, the performance parts (including his own

autograph parts) and published editions contain numerous errors or

inconsistencies. The clarinet compositions, encompassing a time period

from 1879-1922, emphasize Stanford's adherence to the "Classical"

ideals of his predecessors, especially the German ideals, and his

preoccupation with the use of the Irish folk song.

112Hudson, New Grove, XVIII, p. 72.

CHAPTER II

A DOCUMENTARY HISTORY OF THE SOURCES OF

MANUSCRIPTS AND PRINTED EDITIONS, AND

THE PERFORMANCES OF STANFORD'S

CLARINET MUSIC

Introduction

Stanford wrote seven chamber works that include the clarinet.

They are listed in chronological order by date of composition:

1. Three Intermezzi. Op. 13, for clarinet and piano (1879)

2. Concerto, Op. 80, for clarinet and orchestra (1902)

3. Serenade, Op. 95 (Nonet), for flute, clarinet, horn,

bassoon, two violins, viola, violoncello and bass (1905)

4- Minuet in 3-Flat Major (Octet), for flute, clarinet, horn,

two violins, viola, violoncello and harp ad libitum (1911)

5. Sonata, Op. 129, for clarinet and piano (1911)

6. Fantasy in G Minor, for clarinet, two violins, viola and

violoncello (1921)

7. Fantasy in F Major, for clarinet, two violins, viola and

violoncello (1922)

Of the seven compositions, only two were published during Stanford's

lifetime: Three Intermezzi, Op. 13, and Sonata, O P . 129. The majority

of Stanford's compositions for the clarinet are almost totally unknown,

especially in the United States, and they exist in manuscript only. A

discussion of the availability of each work will be given. In addition

a^

46

to the manuscripts, a documentation of the printed editions and

printing errors contained in each, first and subsequent performances

and dedications, if known, will be given.

The following discussion of each work includes: (1) the location

of the autograph score and parts; (2) the location of other manuscrvots

of importance; (3) first and subsequent performances, along with

dedications, if known; and (4) if the work has been published, the

publisher and date of publication, its availability and errors

contained in each publication, are given.

Three Intermezzi, Op. 13

The autograph score of Three Intermezzi, Op. 13, is held in the

University Library of the University of Newcastle upon Tyne, England.

The three movements of the autograph score are dated November 26, 1879,

November 28, 1879, and December 9, 1879, respectively. Included with

the autograph score is an autograph violin part, a manuscript of the

clarinet part in a copyist's hand and an autograph clarinet part in

B-flat to the third intermezzo. Reproductions of the manuscripts are

included in Appendix B.I

The first performance of Three Intermezzi was given by Francis

Galpin and Stanford at a Wednesday Popular Concert of the Camoridge

Ipermission has been granted by the legal neir of the Stanforc Estate, The Royal Scnool of Churcn Music, to reproduce the manuscr-^o:s of Three Inte'-nezzi in tnis treatise. A cocy of the oe-^-nission •ette^' is inci uoec in Appendix A.

47

University Musical Society on February 18, 1880.2 Galpin was a

clarinetist and a student of Stanford at Cambridge University. He

became well known later as a scholar and collector of old musical

instruments, after whom the Galpin Society is named.

The scores and parts have numerous publisher markings in ink, lead

and colored pencil, indicating that all of the material in the set was

used by Novello and Company Limited in preparation for publication of

Three Intermezzi in 1880. The manuscript clarinet parts, in the

copyist's hand, suggest that the parts were probably used by Galpin for

the February 18, 1880 performance.^

The original instrumentation in the autograph score called for

B-flat clarinet in the first two intermezzi. The third intermezzo was

originally written for C clarinet. The manuscript clarinet part is

taken from the original notation and instrumentation of the score and

was apparently used for the first performance in February, 1880 (see

footnote 3).

Stanford made numerous revisions to the score and supplied

additional parts for Novello's edition (number 6033) of 1880. On the

first page of the autograph score, "Clarinet in B^" is crossed out

and replaced with "Violin." In red ink, Stanford changed the key

signature and transposed the clarinet lines down one step to concert

2From the Editor's Note by Colin Bradbury in his edition of Three Intermezzi, by Chester Music, 1979.

3 Frederick Hudson, cataloger of Stanford's works and Reader in Music (retired) at the University of Newcastle upon Tyne, examined the materials from Three Intermezzi. A copy of his correspondence is included in Appendix A.

48

pitch for the first two intermezzi.^ In addition, measures that are

outside of the playing range of the violin or are uncharacteristic for

the violin were altered and, in many cases, written out in the margins

of the score.

Stanford wrote a separate violin part for all three intermezzi

from his modifications in the score. For the third intermezzo, he

wrote a B-flat clarinet part in substitution for the C clarinet version

in the score and in the manuscript clarinet part.

As a result of all the changes in the score and parts, numerous

differences and inconsistencies exist, many of which are evident in the

Novello printing. Figure 1 compares some of the differences in the

autograph score and the three manuscript parts with the the Novello

score and clarinet part.

A new edition (1979) of Three Intermezzi, edited by Colin

Bradbury, is available through J & W Chester Music Publishers.

Bradbury's source for his edition is the 1880 printing by Novello.5

Many of the errors and inconsistencies in the Novello printing have

been corrected by Bradbury in his new edition; however, some of the

errors are evident only upon inspection of the autograph score and

parts. Also listed in Figure 1 are the prominent errors and

differences that still exist in his new edition.

^See the reference to Stanford's use of red ink on page 13.

5A copy of Bradbury's correspondence is included in Appendix A

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The comparisons made in Figure 1 show that most of the di f ferences

in the Chester e d i t i o n , as compared to Stanford's autograph score,

r e s u l t from the lack of consistency of Stanford and Galpin in preparing

the v i o l i n and c l a r i n e t par ts . I t is evident that Novello used the

autograph score, the manuscript B - f l a t c l a r i n e t part for the f i r s t :wo

intermezzi and the autograph B- f l a t c l a r i n e t part fo r the t h i r d

intermezzo in engraving the plates fo r p r i n t i n g . The engraver markings

on the score and parts ve r i f y which parts were used. Novello created

add i t iona l problems by using the autograph v i o l i n part as a guide in

engraving the solo l i n e used in the piano score.

The fo l low ing examples demonstrate several of the inconsistencies

present in the various versions of Stanford's Three Intermezzi. As

shown in Example 1 (see Figure 1) , Stanford wrote a G (F concert) in

the second s ixteenth note of the measure fo r the B - f l a t c la r i ne t in the

autograph score, Example l a . When he wrote the v i o l i n l i ne in red ink

at a l a t e r date fo r Novel lo, he wrote an F-sharp. The F concert note

i s shown in the manuscript c l a r i n e t part from the February, 1880

performance by Galpin and Stanford, Example l b . The F-sharp concern

note of the autograph v i o l i n part is shown in Example Ic . The note

p r in ted by Novello in the solo l i ne of the piano score is an F-sharp

concert (Example I d ) , whi le Novel lo 's c l a r i n e t par t has an F concert

p r i n ted (Example l e ) . Example I f shows that Mr. Bradbury chose the F

concert note from Novel lo 's c l a r i n e t part in preparing his ed i t ion fo r

Chester.

55

Example 1. Three Intermezzi, Op 13, Movement I, measure 63.

,^F=^'~' • * ^ —

(A'' *--" ' p -

w -» I

," c — ,-.

u\-

;j

gw /^

la. Autograph Score

- ' • • * n

p

lb. Manuscript Clarinet Part

\ ^ -*—-r—»-

» t

-^ J-JL

-^ H-

Cy^ :S=i^ If T

— » # • •

(;r>i'?

I c . Autograph V io l i n Part I d . Novello Score

I X) ^ > 3 I X

c/

^ "^ ' » -JL.

*J 1.

^

Jg-^-JL.

.* • < >-^»-

*;

tt=z 5 T

le. Novello Clarinet Part If. Chester Score°

^Reproduced by kind permission of Chester Music.

56

Example 2 (see Figure 1) shows a discrepancy in Stanford's

autograph score and the manuscript parts. If Galpin was the copyist

for the manuscript clarinet part used In the February, 1880

performance, he apparently seized upon the opportunity to use the lower

range of the clar^inet by extending the arpeggio down an additional

octave in measure 67 (Example 2b). Example 2c shows that Stanford used

the original arpeggio in his autograph violin part, having added a

double-stopped E and A in the autograph score on the second part of the

second beat. Example 2d shows the clarinet part as printed by Novello.

In the autograph score (Example 2a), Stanford indicated a piano

dynamic marking in the piano line in measure 67 and in the clarinet

line in measure 68. The manuscript clarinet part (Example 2b) does not

indicate a dynamic marking; however, the autograph violin part (Example

2c) does show a dynamic marking in measure 68. Example 2d shows that

Novello printed the markings in both the piano and clarinet lines.

Novello's clarinet part (Example 2e), taken from the manuscript

clarinet part, shows no dynamic marking. The Chester score (Example

2f) Includes the dynamic marking for the piano in measure 67, but omits

the dynamic marking for the clarinet in measure 68. The Chester

clarine- parr omits the dynamic marking also.

At the top of the autograph score, third intermezzo, is the note

in blue pencil: "Please engrave Clarinet part in D minor as written

out In the separate Clarinet part." The first line of the C clarinet

line is crossed througn, and the "C" in "Clarinet in C" is over.^vritten

with "3-flat." The manuscript clarinet part has, in blue pencil, a

large "x" across the whole movement. Example 3 is from the thirc

57

Example 2. Three Intermezzi, Op. 13, Movement I, measures 67-68

*rT : ^ - ' " ^ • •»• . I-*.

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^Reproduced oy kind perniission of Chester Music.

Example 3. Three Intermezzi, Op. 13, Movement III, measures 64-66

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3a. Autograph Score

58

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^Reproduced by kind permission of Chester Music.

59

intermezzo, measures 64-66 (see Figure 1). A comparison of Examples 3a

and 3b shows the original C clarinet line written by Stanford.

Examples 3a and 3d show the violin version written by Stanford for

publication by Novello. Example 3c shows the changes Stanford made in

the B-flat clarinet version when he wrote the separate clarinet part

for the third intermezzo. Stanford apparently had second thoughts

about the clarinet notes in these measures when he wrote the B-flat

version after the Fepruary, 1880 performance with Galpin. Example 3e

shows that Novello printed Stanford's B-flat clarinet version which is

followed by the Chester edition. Example 3f.

In summary, most of the differences in the Three Intermezzi, Op.

13, from the autograph materials to the current Chester edition, can be

attributed to the processes involved in Its first printing by Novello.

Stanford may have made and approved some of the changes in consultation

with Novello's editors.

Concerto, Op. 80

Stanford wrote Concerto, Op. 80, in three connected movements:

(1), Allegro moderate; (2), Andante con moto, quasi ma piu tranquillo;

and (3), Allegro moderate. The notation in the autograph score calls

for the A clarinet for the first and third movements and the 3-flat

clarinet for the second movement; however, Stanford indicated a change

60

in the Instrument to be used on the first page of the autograph score:

"(NB [nota bene] Copy for Clarinet in B flat up to Finale p. 47)."^

The autograph full score of Concerto, Op. 80, for A and B-flat

clarinet and orchestra, is held in the Royal Academy of Music Library

in London. Included with the autograph full score 1s a manuscript

score reduction in a copyist's hand, for clarinet and piano, and a

manuscript clarinet part in a copyist's hand.^^ A copy of a

manuscript full score In a copyist's hand is held in the University of

Newcastle Upon Tyne Library.^^

In the possession of Pamela Weston is a piano reduction of

Concerto, Op. 80, prepared for Oscar Street, an amateur clarinetist and

^The autograph full score Is reproduced in Appendix C. Permission has been granted by the Royal Academy of Music to reproduce the manuscripts of Concerto, Op. 80, in this treatise.

• No autograph clarinet part is known to exist.

•^Mhe location of the original manuscript full score (in a copyist's hand) is unknown. The photo copy was made by Frederick Hudson while prepar^'ng texts to accompany a brpadcast on Radio Three of the British Broadcasting Company, London, on December 7, 1977. The manuscript was, at the time, held by Stainer and Bell. Stainer and Bell deposited 120 Stanford scores with performance material, mostly autograph, on permanent loan in the University of Newcastle upon Tyne Library In 1979. The manuscripts came from their archive and included numerous works from other publishing houses. Hudson believes successive managing directors of Stainer and Bell had collected the wor;<s by deposit from other directors and, possibly, from Guy Stanford. In addition, published material and engravers copies from Stainer and 3eli's arcnives was included. The manuscript full score to Concerto, Op. 30, was not included in the collection. A copy of the corresponcence from Hudson Is included in Appenaix A.

61

friend of Stanford.^^ weston's edition (1977) of Oscar Street's

piano reduction Is available through J. B. Cramer and Company, Limited,

London. The Cramer edition is the only published version of Concerto,

Op. 80. The orchestral version has not been published, and it remains

in manuscript.

Stanford dedicated Concerto, Op. 80, to the clarinetist, Richard

Muhlfeld,^-^ for whom Brahms had written his clarinet works; however,

Miihlfeld never performed it, and Stanford deleted the dedication. "

The first performance was given on January 29, 1903, with Charles

Draper as the soloist with the Bournemouth Symphony Orchestra.^^

Stanford was present at the performance.

Stanford re-dedicated Concerto, Op. 80, to Frederick Thurston at a

performance in 1922.

^^Weston received the piano reduction from Street's daughter along with correspondence about the concerto and a program of the first performance. A copy of the correspondence from Weston is included in Appendix A.

^^The dedication to Miihlfeld on the title page and the first page of the autograph full score has been scratched through.

14 Pamela Weston, Clarinet Virtuosi of the Past (London: Novello and Company, 1971), p. 268.

^^Weston has corrected the date of the first performance as stated In Virtuosi, page 268. The first performance was previously believed to nave been on June 2, 1904, with Charles Draper, soloist, and the London Philharmonic Orc-iestra, Charles Stanfora, concjctor. Weston's corresponcence is induced in Appendix A.

62

At a Patron's Fund Concert on 9th March 1922 he [Frederick Thurston] played Stanford's Clarinet Concerto, with the New Queen's Hall Orchestra. Stanford was so delighted with his performance that, having crossed out his original dedication to Miihlfeld, he re-dedicated it to Thurston. °

Numerous differences and inconsistencies exist in the various

versions of Conce-to, Oo. 30. Figure 2 compares the clarinet lines in

the autograpn score with the manuscript score, the Cramer score and the

manuscript clarinet part in the Royal Academy of Music.

The differences shown in Figure 2 can be attributed mostly to

errors by the copyists of the various scores and parts, while the

differences in the Cramer score are mainly editorial. The manuscript

score from the University of Newcastle has the same number of measures

per page and the same number of pages as Stanford's autograph score,

and most of the differences in the manuscript score are errors by the

copyist. It is not known when the manuscript score was prepared;•'•^

however, both scores have been used for performances and contain

numerous markings and changes. The manuscript clarinet part in the

Royal Academy of Music Is a performance part and contains numerous

markings and changes also. As a result, it is sometimes difficult to

^^Weston, Virtuosi, p. 272. An inspection of the title page and first page of the autograph score in Appenaix C will verify that the dedication to Miihlfeld has been crossed out; however, Thurston's name has not been added to the autograph score.

^'^See the reference to footnote 11. Included with the autograon score in the Royal Acacemy of Music Library is a separate pace from Stanford's son, Guy: "To Hilary Chacwyck-Heaiey—from Guy Stanfora --in recoanition of a lovely copy of this manuscript.--Nov.7.1?50."

63

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distinguish the original notation from changes that have been made in

the manuscripts.

Example 4 is from the third movement, measures 206-208 (see Figure

2), and demonstrates the differences in articulations of the various

versions. The autograph score (Example 4a) indicates staccato markings

for the ascending sixteenth notes. The slur markings appear to have

been added later. The same measures in the manuscript score (Example

4b) have staccatos marked with the slur markings indicated in pencil.

The manuscript clarinet part (Example 4c) has staccato markings only,

while the Cramer edition (Example 4d) has slur markings only.

Examples 5 and 6, from the second movement, measures 79-80 and

83-84, respectively (see Figure 2), reveal more clearly defined

differences in the various versions. The autograph score and the

manuscript score indicate a D concert for the last note of the phrase

in Example 5, while the clarinet part from the Royal Academy of Music

Library and the Cramer edition indicate an F concert.

In Example 6, the autograph score indicates a quarter note

followed by an eighth rest at the beginning of each of the two measures

(Example 6a). Examples 6b, 6c and 6d indicate dotted quarter notes at

the beginning of the second measure.

Examples 5 and 5 are included in an excerpt in Cecil Forsyth's

book. Orchestration, 2nd ed., (New York: Macmillan, 1949), p. 265.

The first edition was printed in 1914. The excerpt includes the

measures from Examples 5 and 5 and follows the notation in Stanford's

autograph score. Example 5 is also Included as an example in Donald F.

Tovey's book. Essays in Musical .Analysis, Volume III - Concei-tos.

68

Example 4. Concerto, Op. 13, Movement III, measures 206-208.

^ - I • , -"^ ' I

4a. Autograph Score

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4b. Manuscript Score

f, ,M tx=^ ^ D" #

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4d. Cramer Score 18

'^Copyright J.3. Cramer S Co. Ltd., 23 Garrick Street, Loncon WC2E 9AX. Used by permission.

Example 5. Concerto, Op. 80, Movement II, measures 79-30.

69

- • — ^ I a ^ II — ,

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;a. Autograph Score 5b. Manuscript Score

5c. Manuscript Clarinet Part

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--Copyr:gnt J.3. Cramer \ Co. Lta., 23 GarricK Street, Loncon, WC2E 9AX. Used by permission.

Example 6. Concerto, Op. 80, Movement II, measure 83-84,

i:^' K

6a. Autograph Score

!{lli=:nCT;^i;;^±:L!£CTl3^=k^Ji^£^^

6b. Manuscript Score

70

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6c. Manuscript Clarinet Part

6d. Cramer Score 20

^^Copyrlght J .3 . Cramer i Co. L t d . , 23 Garrick Street , Lcnccn, WCZE 9AX. Used by permission.

71

(Oxford: Oxford University Press, 1936), p. 199. Tovey's example

follows the notation of the clarinet part from the Royal Academy of

Music Library and the Cramer edition.

The justification in the differences in Example 5 may be (1), that

the violins repeat the same melodic phrase of the clarinet up one step

immediately afterwards with the last note of the phrase corresponding

to Examples 5b, 5c and 5d or (2), that the legers lines in the

autograph score are compressed and dire difficult to read.

In conclusion, the ambiguities between all of the manuscripts can

be attributed mainly to their use as performance material and/or as a

result of errors by the copyists in the preparation of these

manuscripts. Although the Cramer edition contains a few discrepancies,

most of the differences are editorial in nature.

Serenade, Op. 95

The autograph score of Serenade, Op. 95, is held in the University

of Newcastle upon Tyne Library. Each of the four movements is signed

and dated: June 29, 1905; July 3, 1905; July 9, 1905; and July 16,

1905, respectively. The instrumentation is for flute, clarinet, horn,

bassoon, two violins, viola, cello, and bass. In addition to the word

"Serenade" on the title page, Stanford wrote, in parentheses, the word

"Nonet" to indicate that the work is for nine instruments and not for

wind instruments and orchestra.'-^

2-The first page of the autograpn score has the word "'lonet" as the title. The word "Serenade" is in parentheses.

72

The most obvious precedent for Stanford's Serenade is Schubert's

Qctet In F (1824), Op. 166, with an added flute part.22 in form,

Schubert patterned Octet In F after Beethoven's Septet In E-Flat (one

violin only). Op. 20.23 Both works (Octet in F and Septet in E-Flat)

are suites in six movements. Although Stanford's work has only four

movements, the first movement is in traditional sonata form, and the

second movement is a set of variations similar to the works by Schubert

and Beethoven. The musical motive used by Stanford in the second

movement Is the famous horn melody from Till Eulensplegel's Merry

Pranks (1895) by Richard Strauss.2^

The four movements are of considerable length. The first

movement, Poco Allegro, is 237 measures in length. The second

movement. Allegro molto; Allegretto, is titled "Scherzo" and "Trio,"

and it contains 177 measures. The third movement. Andante, is 203

measures in length, and the fourth movement. Allegro comodo [sic],

contains 381 measures.

There are no other verifiable manuscripts or autograph performance

parts of Serenade. The work has not been published, and it remains in

manuscript.

22A survey of Catalogue of Chamber Music for '.Woodwind Instruments by Roy Houser (Bloomington: Indiana University School of Music, 1962; reprint ed., New York: Da Capo Press, 1976), pages 140-146, reveals no predating nonet with the same instrumentation as Stanford's Serenade.

23Donald J. Grout, A History of Western Music (New York: W. W. Norton, 1960), p. 524.

2'^Refer to page 21 for Stanford's comments on Til; Eulensoiece 1 .

73

The first verifiable performance of Serenade was given on January

2, 1937, on a series of concerts organized by John Parr in Sheffield,

England. The program for the concert states that it is the "First

public performance" of the work.25 it is unknown if the performers

used a conductor for the performance because no conductor is noted, and

Parr Is listed on the program as the bassoonist; however, another

musician on the program could have served as the conductor. There is

no registry of the parts used by the performers, and it is not known if

the parts were prepared by Stanford or someone else.

There are two other verifiable performances of Serenade. The

first was given on March 6, 1986, by The University of Leeds Music

Ensemble, conducted by Julian Rushton. The parts for the musicians

were prepared from a copy of the autograph score by Adrian Rushton,

brother of Julian Rushton. At the time of the Leeds performance, no

previous performance of Serenade was known to have been given. "The

latter [Stanford's autograph score] bears signs of having been used as

a conductor's score; but it seems unlikely that the work has been

performed in the last eighty years."2°

The second of the two performances was given on March 2, 1987, at

the Royal College of Music in London, conducted by Stefan Asbury. The

parts for the musicians were the same parts prepared by Adrian Rushton

2-From the catalog of Monthly Chamber Concerts, [e.l404.(2.)], in The British Library.

^-^From the program notes by Julian Rushton.-

74

for the Leeds performance the previous year. The concert was promoted

by Michael Bryant, president of The Clarinet and Saxophone Society of

Great Britain.

In summary. Serenade, with only three verifiable performances, is

a work that is relatively obscure. Although other chamber works using

various combinations of wind and string instruments had been written

prior to the Serenade, Stanford chose Schubert's Octet In F, Op. 166,

as his model for instrumentation (with the addition of a flute part)

and, partially, for the formal structure of the movements. The work

has not been published, and it remains in manuscript.

Sonata, Op. 129

The autograph full score of Sonata, Op. 129, for clarinet and

piano, is held in the Cambridge University Library (MS.Add.8341). Each

of the three movements is signed and dated: December 24, 1911;

December 25, 1911; and December 28, 1911, respectively. Included with

the autograph full score is an autograph clarinet part.2/ Cambridge

University Library purchased the autograph full score and autograph

clarinet part from the estate of Thomas F. Dunhill in 1983.2°

Stainer and Bell published Sonata, Op. 129, in 1918 and published

an alternate part for the viola (arranged by H. Waldo Warner) a year

27The autograph materials of Sonata, Oo. 129, are reproduced in Appendix D by permission of the Camoridge University Library.

28Dunh111 (d. 1946) was a student of Stanford at the Royal College of Music beginning in 1893. He was known primarily as a chamoer music composer, as a teacher at the Royal College of Music, and as the organizer for a series of concerts in London known as the Dunnill Chamoer Concerts.

75

later, in 1919. The sonata is currently available In the United States

through Galaxy Music Corporation, New York, the American agents for

Stainer and Bell.

Stanford dedicated Sonata, Op. 129, to Oscar W. Street and Charles

Draper. The first pe'-formance was given on .March 16, 1916, as a part

of the Dunhill Chamber Concerts series at Steinway Hall in London.25

Charles Draper was the clarinetist, and Thomas F. Dunhill was the

pianist.

Numerous differences exist In the autograph clarinet part as

compared to the autograph score. On a separate page with the autograph

materials is an instruction for the publisher to consult the separate

clarinet part. It is unknown when Stanford prepared the autograph

clarinet part because it is not signed or dated. Although the

autograpn score was completed in 1911, the first performance did not

take place until 1916, and Stainer and Bell did not publish the work

until 1918. The differences in the clarinet part may represent changes

made by Stanford after the first performance in 1916, although the

changes could have been made prior to publication in 1918.

The Stainer and Bell score and clarinet part contain numerous

differences also. Many of the differences are obvious printer errors

in the clarinet part when compared to Stainer and Bell's score and the

autograph materials. Other differences are totally inconsistent with

the autograph materials and have to be considered editorial by Stainer

and Bell's engravers.

29t rom The ^usical Times, April 1, 1915, p. 201.

76

Figure 3 compares the autograph score and autograph clarinet part

with the Stainer and Bell score and clarinet part.

Example 7 is from the first movement, measures 7 and 8 (see Figure

3). The dynamic Stanford marked in the autograph clarinet part

(Example 7b) for measure 7 is different than the one he marked in the

autograph score (Example 7a). Stainer and Bell chose the dynamic

marking from the autograph score (Examples 7c and 7d). In measure 8,

the autograph score, the autograph clarinet part, and Stainer and

Bell's score indicate a decrescendo marking (Examples 7a, 7b, and 7c)

for the clarinet while Stainer and Bell's clarinet part (Example 7d)

has no decrescendo marking.

Example 8 is from the first movement, measure 91 (see Figure 3).

The dynamic marking for the clarinet 1s present in the autograph

materials and the Stainer and Bell score (Examples 8a, 8b, and 8c), but

it is absent in the Stainer and Bell clarinet part (Example 8d). The

fourth note of the measure for the clarinet is an E-flat in the

autograph materials (Examples 8a and 8b), but the Stainer and Bell

score and clarinet part have the note F marked (Examples 8c and 8d).

A performance difficulty In the second movement, Caoine

(pronounced "Keen"), consists of long phrase lines for the clarinetist,

presenting a problem in finding a place to breathe. Stanford is very

specific in the placement of phrase lines for the clarinet as

demonstrated in Example 9, measures 52-54 (see Figure 3); however, the

autograph score shows different phrasing than the autograph clarinet

part. The Stainer and Bell score and clarinet part are different than

either the autograph score or the autograph clarinet part. The

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82

7a. Autograph Score

T T ^ '

7b. Autograph Clar inet Part

7c. Stainer and Bell Score^^

0^ , ^ - - '^T^^i

«>» rt7«, iT

7d. Stainer and Bell Clarinet P a r t ^ ^ —

~^^Used with permission of Galaxy Music Corp., New Yorl-c, 'JY.

Example 8. Sonata, Op. 129, Movement I , measure 91 .

83

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8a. Autograph Score 8b. Autograph Clar inet Part

-7—r rtj»_ i .7 .?

^

8c. Stainer and Bell Score 31 8d. Stainer and Bell Clarinet Part

3 ibis

31used with permission of Galaxy Music Corp., New York, NY

84

Example 9. Sonata, Op. 129, Movement I, measures 52-54.

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9c. Stainer and Sell Score 32

S ut tL.

tJ

* • • » * J * - * ' * • * •

ami.

9d Stainer and Bell Clarinet Part^^

32ijsed with permission of Galaxy Music Cora., New York, NY.

85

autograph score (Example 9a) Indicates a break In the phrasing after

the dotted-quarter note F-natural In measure 53. The autograph

clarinet part (Example 9b), however, indicates a break In the phrasing

after the tied F-natural in measure 52. In addition, a "V" (indicating

a breath) is marked between phrase lines. A similar "V" marking is

Indicated in measure 54. The Stainer and Bell score and clarinet part

(Examples 9c and 9d) are alike, but the phrase line Is broken after the

first sixteenth note of measure 53 for both examples.

In summary, there are many differences between Stanford's

autograph score and autograph clarinet part. It is not known when

Stanford prepared the autograph clarinet part because it is not signed

or dated. The differences in the clarinet part may represent changes

made by Stanford after the first performance in 1916, although the

changes could have been made prior to publication in 1918. The Stainer

and Bell score and clarinet part has many differences also. Many of

the differences are obvious printer errors in the clarinet part when

compared with the autograph materials. Other differences are totally

inconsistent with the autograph materials and have to be considered

editorial by Stainer and Bell's engravers.

Minuer in B-Flat Major, Fantasy in G Minor ana Fantasy in F Major

The autograph full scores of Minuet In B-Flat Major, Fantasy in G

Minor and Fantasy in F Major are held in the University of Newcastle

86

upon Tyne Library.33 included with both Fantasy in G Minor and

Fantasy In F Ma.lor are complete sets of individual autograph parts;

however, none of the three works have been published or had any known

performances.

The instrumentation for Minuet in B-Flat Major (MS 96) is: flute,

clarinet in B-flat, horn in F, violin I, violin II, viola, cello, and

harp ad libitum. The work was signed and dated on May 2, 1911. It is

fifty-seven measures in length with a nine measure introduction

("Allegretto") and four sections of twelve measures each ("Tempo d1

Minuetto"). Because of its brevity and structure, Stanford may have

extracted it from another work and arranged it for the eight

instruments indicated above. One possibility is his Symphony No. 7, in

D Minor, Op. 124, which was completed in the same year as Minuet in

B-Flat Major. The second movement of the symphony is a "Tempo di

Minuetto" which is also in B-flat major.^^ The symphony was

published by Stainer and Bell in 1912.

The instrumentation for Fantasy in G Minor (MS 100) is: B-flat

clarinet, violin I, violin II, viola, and cello. The work has three

movements: Allegro moderate (alia Marcia), Andante, and Allegro. The

33sta1ner and Bell deposited 120 Stanford scores with performance material, mostly autograph, on permanent loan in the University of Newcastle upon Tyne Library in 1979. The manuscripts came from their archive.

3^John F. Porte, Sir Charles V. Stanford (London: Kegan Paul, Trench, Trubner and Company, Limited, 1921), p. 95. "The second movement (Tempo di M1nuetto--3 flat major) is very charming and nicely scored. Its spirit is of tne oic Minuet, but in form it is quite lengthy and symphonic, containing several sections."

87

second movement 1s initialed and dated, October 23, 1921, and the third

movement is initialed and dated, October 27, 1921. Stanford also

Initialed the last page of the cello part. The autograph score and

autograph parts have rehearsal numbers marked in pencil by someone

other than Stanford. The numbers could indicate the manuscripts were

used for a performance but, more likely, were marked by someone

preparing them for publication.

The instrumentation for Fantasy in F Major (MS 102) is: B-flat

clarinet, violin I, violin II, viola, and cello. The work is signed

and dated, June 20, 1922. There are three primary style or tempo

markings to the continuous one movement work: Allegretto piacevole,

Adagio, and Quasi Presto. Fantasy in F Major has rehearsal numbers In

both the autograph score and autograph parts in Stanford's notation;

there are, however, style and dynamic markings that have been added to

the autograph score only by someone other than Stanford.

In summary. Minuet in B-Flat Major, Fantasy in G Minor and Fantasy

in F Major had been held in the archives of Stainer and Bell until

1979, when they were deposited in the University of Newcastle upon Tyne

Library. All three works may have been considered for publication at

one time. The autograoh parts for Fantasy in G Minor and Fantasy 'n -

Major and the additional markings in these works indicate: (1) the

possibility of a performance, or (2) the possibility the works may be

published. None of the three works have been published, and there have

been no known performances of these works.

CHAPTER III

A STRUCTURAL AND STYLISTIC ANALYSIS OF

SELECTED WORKS FOR THE CLARINET

Introduction

Stanford's clarinet works selected for analysis. Three Intermezzi,

Op. 13, Conce'-to, Op. 80, and Sonata, Op. 129, are his only clarinet

compositions that have been published and are currently available to

the general public. Stanford's other chamber works which Include the

clarinet are: Serenade, Op. 95, Minuet in B-Flat Major, Fantasy in G

Elinor, and Fantasy in F Major. No analyses of these works are given

because of their present obscurity, their recent disclosure, and their

current absence as published literature.

The analyses of the selected works will focus, primarily, on the

formal structure and harmonic and stylistic considerations necessary

for a clear understanding of Stanford's clarinet music and, in general,

his compositional style. When necessary, the discussion of each work

Includes background information to clarify the compositional techniques

used by Stanford and other composers of the nineteenth and early

twentieth centuries.

Three Intermezzi, QD. 13

Although the term "Intermezzo" was common in the Romantic period

to describe a character or mood piece, primarily associated with

literature for the piano, the use of the term in literature for

88

89

clarinet and piano is original with Stanford in 1879.^ The majority

of the character pieces from this time period are written in ternary

form, and Stanford's intermezzi follow that plan. He was well

acquainted with works of this type by composers such as Beethoven,

Schubert, Schumann, Chopin and Brahms. Of these composers, only

Schumann wrote a character piece for clarinet and piano,

Phantasiestiicke, Op. 73. It was written in 1849 and was originally

entitled Soireestucke. Schumann did write several piano compositions

entitled intermezzi, including 6 Intermezzos (1832), originally

entitled Pieces phantastiques. All of Brahms' Intermezzi were written

after 1879 with the exception of Eight Pieces, Op. 76, for piano, which

was published in 1879. Four of the eight pieces are intermezzi. There

are few musical similarities among any of the above-mentioned works and

Stanford's Three Intermezzi with the exception of the title or formal

structure.

Each of the three movements of Three Intermezzi is a modified

ternary form with a contrasting second section and a modified return to

the material of the first section. The second movement, in turn,

offers a stylistic contrast with the movements on either side. All

sections are marked with double bar lines, and most sections have

changes in meter, temoo, and key signature. Within each section, two

or three subdivisions provide additional stylistic contrasts.

^A survey of The Index of Clarinet Music, compiled and editea oy Wayne Wilkins, (Magnolia, ArKansas: The Music Register, 1975), pp. ^ 83-115, reveals no clarinet ccmoositions witn the title "intermezzo'' precating Stanford's comoosition.

90

Encompassing 114 measures, the first Intermezzo has slightly

longer first and third sections. The first section encompasses

measures 1-42, the second section, measures 43-74, and the third

section, measures 75-114. The sections are marked Andante

9 esoressivo,- Allegretto leggiero. and Tempo I, respectively. The

first and third sections are in ^ with I meter for the second

section. Although the key signature of two flats remains consistent

throughout, the primary key centers in the first two sections alternate

between B-flat major and D minor. The third section begins in D major

with the opening theme, but quickly returns to the B-flat major/D minor

key centers and the movement ends in the tonic, B-flat major.

The second Intermezzo encompasses 164 measures with, more or less,

equal sections. The sections encompass measures 1-53, 54-110, and

111-164, respectively. The first section Is marked Allegro agitato,

and the second section is marked Tranquillo. The third section has no

marking; however, the main theme and the ^ meter of the first

section returns along with the key signature of one flat. The second

section has a contrasting ^ meter and a key signature of two flats.

The first and third sections have a primary key center of D minor and a

secondary key center of B-flat major, although the first section

momentarily t9n1c1zes keys such as F major and C major. The third

section tonicizes G minor before returning through B-flat major to D

minor. The movement ends with a twelve measure extension of the

theme of the second section. The second section has a primary key

^In the autograph violin part, the marking is Lento esoressivo

91

center of B-flat major, but moves quickly through keys such as E-flat

major, A-flat major, and D-flat major. The end of the section shifts

from E-flat major to E-flat minor and prepares (through a B-flat pedal)

for the return of D minor in the third section.

Encompassing 70 measures, the third intermezzo has a slightly

longer third section. The sections encompass measures 1-21, 22-43, and

44-70, respectively. The first section is marked Allegretto scherzando

while the second and third sections have no markings.^ The first and

third sections have a key signature of three flats, and the second

section has no sharps or flats in the key signature. The whole

movement is in ^ meter. The first and third sections have a primary

key center of C minor with temporary toniclzations in E-flat major and

A-flat major. The third section, being slightly longer, tonicizes

D-flat major before chromatically sliding back to C minor. The last

four measures are bimodal C major/C minor before ending the movement on

a C major chord. The second section begins in C major, moves to D

minor, and moves back to bimodal C major/C minor. The section ends in

C major with a repeated dominant and its leading tone in preparation

for the third section.

Even at such an early stage in his career, it must be said that

Stanford's compositions for the clarinet are idiomatic for the

instrument. In Three Intermezzi, he exploits the full range of the

3The piano line in the Novello score and both clarinet and piano lines in the Chester edition have larcamente marked at the beginning c the second section. There are no markings of this section in any of Stanford's autograph materials.

92

instrument while effectively Integrating articulated and lyric passages

with dynamic contrasts from pianissimo to fortissimo. He apparently

favored the chalumeau register of the clarinet, for all three sections

of the first intermezzo end in this register. Moreover, the first and

second sections of the second intermezzo and the second and final

sections of the third intermezzo end in the chalumeau register. He

consistently alternates between lyric and articulated passages within

each section of the intermezzi, and he uses a similar pattern in

contrasts of dynamics.

One of the most unifying aspects of Three Intermezzi, with

regard to musical motive, is Stanford's use of the Intervals of thirds

and sixths. The interval presented by the clarinet in the opening of

the first Intermezzo is a leap upward of a minor sixth. After a repeat

of the initial phrase, up a minor third (measures 10-17), the

constrasting phrase begins with the Interval of a descending major

third (measures 18-19). In the second section of the first Intermezzo,

the piano enters with a descending minor third which is answered in the

clarinet with the ornamental outline of a similar major third (measures

43-45).

The second intermezzo begins with repeated Intervals of descending

major thirds in the clarinet. The second phrase, in a scalar fashion,

repeatedly outlines the Interval of a third (measures 11-18). The

contrasting phrase of the first section begins with a descending minor

third (measures 22-23). The lyric second section, in a scalar and

ornamental way, begins with the outline of a third, followed by a skip,

which then presents two more outlines of thirds (measures 5-^-57).

93

The first phrase of the third intermezzo again emphasizes the

Interval of a third in the scalar passage of the clarinet by accenting

the third note. The first resting point in the phrase is a quarter

note that lies a major sixth lower than the first note of the phrase

(measures 1-2). The second section of the third intermezzo begins with

the outline of a third in the upper voice of the piano (measures

22-23). In the contrasting phrase (measure 30), the upper voice of the

piano repeats a descending third that initiates the return of the main

motive of the first section.

Stanford uses the above thirds and sixths in the development of

melodic and rhythmic motives that are segmented or transformed in

various ways throughout all three intermezzi. In the first Intermezzo,

first section, contrasting phrase (measures 17-18), the piano's first

two notes and the first note of the clarinet entrance are modified to

create accented appoggiaturas in both the clarinet and piano lines of

measures 25-29 (compare Examples 10 and 11). The similar clarinet

entrance of measure 18, along with the Intervals and rhythmic content

of the next three measures, form the basis for the beginning motive of

the second intermezzo (compare Examples 10 and 12).

The theme of the second section, first Intermezzo (Example 13), is

transformed into the contrasting theme of the second intermezzo, first

section (Example 14). Also, the rhythmic content of the theme of the

second section, first Intermezzo (Example 13), is similar to the

rhythmic content of the theme from the first section, third intermezzo

(Example 15). In addition, the second half of the long, lyrical

clarinet theme (second intermezzo, secona section, measures 52-70) nas

94

Example 10. Three Intermezzi, Op. 13, Movement I, measures 17-21.^

± » ' B '

.>: . * * M

*•-

Example 11. Three Intermezzi, Op. 13, Movement I, measures 25-29,

-^iF—

- • - • H — -— a—

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_:*

. Ll ..

- V - / • • -f r -

-*• *^*-

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rr

= T hm

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Example 12. Three Intermezzi, Op. 13, Movement II, measures 1-4

Clannet in 3 '

Allesro agitato ( «. =144)

Piano

• All examples on this page are reproduced by kind permission o-Chester Music.

95

Example 13. Three Intermezzi, Op. 13, Movement I, measures 59-61.5

"•• M

_ _ ' 4 * ^

^ / ^i:? - * — * — * - * * *"—*-^-

I '

3C3C: •arr: ~a» ==~

Example 14. Three Intermezzi, Op. 13, Movement II, measures 26-30

^ -J-3C ..•'» c—* :: -c-

3. ;'• 1 ^ «

=;=

r^—i-^=—^-Ti J^, -i^ -, ^^ ^f

I' ^ ^ 7<

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Example 15. Three Intermezzi, Op. 13, Movement III, measures 1-4

.AJlesretto scherzando ( * =104)

Gannec in B>

^ V . « — r -

V. -* < I

J ^ y, - ^ ?i < • — * —

Piano *j ^ :? ^ ^ ^

V u zxz

^ ' r f n? ^ j ; ? — ^

-All examples on this page are reproduced by kind permission of Chester Music

96

the same rhythmic content, but it is augmented (see Example 16).

Several measures later in the same section (second Intermezzo, measures

76-79), the melodic content of the lyrical phrase borrows its

articulated version from the first section (measures 1-5).

The four measure extension, first section of the third intermezzo

(measures 13-16), is augmented and derived from the last four notes of

the first phrase of the section (measure 4). The theme in the upper

voice of the piano at the beginning of the third intermezzo, second

section, measures 22-25 (see Example 17), is an augmented and combined

version of the last four notes of each phrase ending from the

contrasting theme of the second intermezzo, third section, measures

124-125 and 128-129 (compare Example 17 with Examples 18 and 19). The

preceding piano theme Is answered in the clarinet, measures 26-29 (see

Example 20), with the melodic and augmented rhythmic content from the

first theme of the movement, measure 1 (see Example 15). Stanford

provides contrast and variety within the various sections of Three

Intermezzi through the interaction of the clarinet with the piano and

through the use of motives, themes, and accompanying material. The

texture and fabric of the first intermezzo, first section, can be

described generally as homophonic, with a lyric upper line (provided by

the clarinet) and a (sometimes) lyric bass line that is supported by a

moving eighth note accompanying pattern. The contrasting phrase (see

Example 10), initiated by the piano in its upper voice (measure 17), is

accomplished by the inversion of the previous accompaniment

configuration. In measures 21-22, the pattern is inverted again to

balance the upward skip in the clarinet line. The beginning of the

97

Example 16. Three Intermezzi, Op. 13, Movement II, measures 62-70.^

-r -1 B^* ' : M ^.

tj ^

J * *-

J —^1 ir :3c

»>: ,:

^f=?^

tX—31 tl"

Example 17. Three Intermezzi, Op. 13, Movement III, measures 22-25

^ ^ : ^

t lurfamente yp

-m rtrt rtt ! - ; J i i i i r m /><

^ i *

m ; - * • •

S4i ^ • * * -*——#-^ :

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Example 18. Three Intermezzi, Op. 13, Movement II, measures 124-125

^ '

fn

-»•:

J

[, 0 S ^ *: = = ^ - ^ * "^ • '^^ ' ^ , - r t . — ^ . ^

' / 1 ^ jl "^

— < - _ — # — ! — s > — - — * 1 - •-

-^ = = - - ^ r

OAl 1 examples on this page are reproduced by kind permission of Chester Music.

98

Example 19. Three Intermezzi, Op. 13, Movement II, measures 128-129.^

t ^ ' V ^ " * ^'—M «i

•y. — \ c u >• u .. V

M> • • --0^ ••n..- v..

Tf ZZ

Example 20. Three Intermezzi, Op. 13, Movement III, measures 26-29,

^Al1 examples on this page are reproduced by kind permission of Chester Music.

99

second section (measure 43) is an articulated dialogue between the

piano and clarinet. The piano states the initial motive, and the

clarinet responds with the answer at the interval of one measure.

After doing this again, the roles ^re reversed (measures 47-51) and

followed immediately by two entrances of the initial motive at the beat

(measures 51-59). Continuing with entrances at the beat, the piano and

the clarinet present the whole phrase group, which is then extended,

with the use of the answer of the original motive, into the forte

climax of the clarinet (measures 59-67). The third section is similar

to the lyrical first section; however, the initial clarinet melody is

displaced on the beat and answered in the upper voice of the piano at

the Interval of four measures (measures 75-35). The section closes

with the initial motive from the second section (measures 110-114).

The second movement has the same initial interior texture

(accompanying eighth notes in the piano) as the first movement;

however, the short, repeated motive in the clarinet is Imitated in the

bass line of the piano (see Example 12). The motive is developed into

an eleven measure phrase, at which time the piano acquires the previous

clarinet melody (measure 11). While the piano replays the eleven

measure phrase, the clarinet develops its own legato eighth note

pattern that takes the place of the initial accompanying material

(measures 11-18). The contrasting phrase of the section begins in the

piano (measure 22), and is answered in the clarinet four measures

later. The clarinet develops the phrase which leads to a repeated

ascending rhythmical figure, similar to the beginning motive of the

movement (measures 34-37). The upper voice in the piano responds with

100

the original descending motive (measures 37-39). The section slows and

concludes with the augmented rhythmic figure of the beginning of the

movement (measures 45-53). The second section begins with an eight

measure lyrical line in the clarinet that ascends from the chalumeau

register to the third octave (measures 54-62) and returns to the

chalumeau register in the following ten measures. At the same time,

the upper harmonized voices of the piano (in contrary motion) sound the

second half of the clarinet line first, and then, the first four

measures of the ascending line (measures 62-66) before completing the

line in octaves in the bass voices (measures 66-72). For the first

thirteen measures of the section, the bass voices of the piano supply a

double pedal point on B-flat and F that has the same rhythmic content

as the augmented figure at the close of the previous section. In fact,

the upper lyrical lines are articulated in the same way. The phrase

ending of measures 70-72 provides a means to further develop the next

ascending lyric line, but it is Interspersed with the melodic and

rhythmic content of the first section (measures 72-80). On the repeat

of the same basic material, up an octave, the piano and clarinet

combine materials of the first and second sections (measures 80-92).

The section returns to its initial material, but its activity is

heightened by a constant shift of key areas (measures 38-104). The

second section closes with the same augmented figure in the clarinet

that served as a bridge from the first section (measures 104-108); at

the same time, the piano alternates between the triplet eighth notes of

the first section and the duple eighth notes of the second section

before maintaining consistent triplets. The clarinet figure reverts to

101

its original form as a transition to the third section. The third

section presents the same material as the first section, but in

truncated form. The augmented figure allows the clarinet to relax

gradually into the lowest range of its chalumeau register (measures

141-153). A twelve measure extension in ^ meter concludes the

movement with the return of the lyrical theme of the second section.

The clarinet, on the final cadence, resounds the opening minor third

interval from the beginning of the movement.

The texture of the accompanying material in the third movement is

considerably different than in preceding movements (see Example 15).

The piano provides a staccato "walking bass" line for much of the

movement, characterized by bass notes on the beat and its chords off

the beat. The initial four measure clarinet theme is answered in the

upper voice of the piano for the succeeding four measures. Measures

9-12 alternate entrances between the piano and clarinet, at the

measure, using the material of measure 1. In measures 13-16, the

clarinet augments the last four notes of its first phrase (measure 4)

while the piano continues to use the off-beat sixteenth note figure

from measure 1. The section concludes with the piano entrance of the

initial clarinet phrase and followed by the clarinet at a two beat

interval (measure 17). The texture of the second section (measures

22-43) revolves around a series of arpeggiated chords in the piano (see

Example 17), Interspersed with arpeggiated lines, and overlaid with

melodic material from the first and third movements. The clarinet

interjects an arpeggio in measures 23 and 25, followed by the piano in

measures 27 and 29. In measures 25-28, the clarinet overlays an

102

augmented version of the material from the first measure of the

movement (see Example 20). Beginning in measure 30, the clarinet

motive, of the contrasting phrase, first section, first movement

(measures 17-18), overlays a series of arpeggiated chords in the piano.

The upper voice of the arpeggiated chords outlines the return (not

augmented) of the motive from the first measure of the movement

(measures 32-33). The remainder of the section (measures 36-43)

fragments all of the preceding motives, and ends with a repeated

sixteenth note motive that leads to the third section. The first

fifteen measures of the third section are Identical to the

corresponding measures of the first section. The arpeggiated piano

chords and arpeggios from the second section return (measure 60),

culminating in a fortissimo climax that is heightened by two measures

of arpeggiated chords in the piano and syncopated rhythm in the

clarinet (measures 64-66). The composition returns to the opening

motive of the movement and concludes (last four measures) with a

clarinet line that descends almost three octaves to its chalumeau

register at the cadence.

Many of Stanford's concepts in composition concerning melodic and

rhythmic content can be traced to his involvement with Irish folk song

as noted in Chapter 1, pages 35-36. In his article, "Some Thoughts

Concerning Folk-song and Nationality," Stanford gives an example of

" . . . the commonest form of Irish cadence, a three-fold reiteration

103

of the keynote . . . (Example 21a)"^ He continues by giving an

example of a Hungarian variant (Example 21b) and an example from

Beethoven's Seventh Symphony, the first movement (Example 21c). In the

Beethoven example, he points out the bracketed measures: "Note £ and

bi: a_ being a typical Irish phrase, and b_ (eliminating the ornamental

surroundings) the three heavy repetitions of the Irish Cadence."^

Stanford uses similar repetitive figures in Three Intermezzi.

Some of them are cadential figures (Example 22), and others are

embedded in the phrase structure, serving as extensions (or sequences)

to the phrase (Example 23). The motive (repeated three times) at the

beginning of the second intermezzo (measures 1-3) is extended to four

repetitions by the end of the phrase in measure 11 (Example 24).

The form of an Irish folk song is derived, mainly, from its poetic

content. In the previously cited article, Stanford gives a description

of one type of Irish folk song, the love song or narrative song.

Their most persistent characteristic is a grouping of phrases which exactly correspond to the four-line stanzas of Tennyson's 'In Memoriam,' where the first line rhymes with the fourth, and the second with the third. In a great amount of Irish music of the narrative or amative type, the four phrases are similarly balanced; the first and the last being the same, and the second and third either the same or a variant of it. The 'Harp that once in Tara's Halls' is a good instance of this.^ The scheme is sometimes varied by a reoetition of the first line, as in 'At the mid hour of nignt.' It may be set out, prosodically, as follows: [Example 25]

^Charles Stanford, "Some Thougnts Concerning Folk-song and Nationality," Musical Quarterly 1/2 (1915), p. 238.

^Stanford, "Folk-song" I, p. 244.

Example 21. Cadences from Stanford's "Thoughts Concerning Irish folk-song and Nationality," pages 238 and 244.

104

Tr-— -!—• * m t V " •^'-

21a. Irish cadence 21b. Hungarian variant

m lA',,"' • • » . > ^ # ' ^ i ' ' — ^ ><i • - • ^ 3C*1 SCTCX ig ia j # , c -i ,»• • i

T^ 3CC • ^ - v

^ I • • • ! ' * ' » ,

21c. Example from Beethoven's Seventh Symphony

Example 22. Three Intermezzi, Op. 13, Movement I, measures 71-74 10

^ 'v II :i

* • , * • ' I ' 1

rati

^ ->

m pppx IK'

roll.

J K I * ' * *t-V-

7 V V ^ ?

X ^

Example 23. Three Intermezzi, Op. 13, Movement III, measures 13-15

m 0- n.0m'* •« j - ^ « ^ y' * • • *

^ K k 0 '.0

70 M :,*

* • • ' - i *

J r -* f*-

^^The remainder of the examples on this page are reprocucea oy kind permission of Chester Music.

105

Example 24. Three Intermezzi, Op. 13, Movement I, measures 1-11.-^^

Gannet in B*

Piano

S

i ^J

Andante espressivo ( , =92) ; J . • i * - V -

/* iontaeile

5=E± * u

=5=^ =*==*= 0 0 T T T :z3=

^ ^ -9-r -0 0- -9 r

g 1 '.i;/c

± -? s»-

- *H- T^Tt nj

-rrr-

/ semnre legato L ! L A

"» 5" •??-:

k"

Example 25. The poetic form of the Irish narrative song, "Harp that once in Tara's Halls," from Stanford's "Some Thoughts Concerning Folk-song and Nationality," page 241.

| . i . ,»),*)IJ J J I J J I J J I J J J1 J 3. ,1 , I J J ; I J J1 J J I J J J I <:/ 3. i)i^\ J -' J I J -*>.'> 1 J J).*)! J J J I J 4. -•)**) I J J J iJ .•),*)! d *^.*)l J J J I J 5. .•)*•)! J J J I J J I J J \ J J J\ d II

^-Reproduced by k ind permission of Chester Music

106

Lines 1, 2 and 5 balance each other, and lines 3 and 4 balance each other and provide the contrast to 1, 2 and 5.- 2

The form of the individual sections in Three Intermezzi employs

certain aspects of the four and five line schemes mentioned above.

Most of the sections repeat the initial phrase, as in lines I and 2 of

Example 25, and return to the material of the initial phrase, as in

line 5 of Example 25. The first movement, first section, of Three

Intermezzi contains an example of a five line scheme. The first phrase

(measures 1-10) is repeated in measures 10-17. The contrasting phrase

group has two parts, as in lines 3 and 4 (measures 17-25 and 25-32,

respectively). Measures 32-42 return to the material of the initial

phrase.

In summary, Stanford's Three Intermezzi is a unique clarinet

composition, having no precursor with a title that uses the term

"Intermezzo." Each Intermezzo follows the common ternary form and has

a standard harmonic structure similar to other character or mood pieces

of the period. The harmonic structure is characterized by modal

changes and frequent toniclzations and modulations to key areas a third

and a fifth away from the tonic key. The work is highly unified

through the use of the intervals of a third and a sixth as the primary

motivic element. The melodic phrases and rhythmic motives developed

from the preceding intervals provide stylistic unity. Intensity,

variety, and contrast are created by a varied texture and fabric.

l^stanford, "Folk-song" I, p. 240-241.

107

stylistic contrasts, and changes in dynamics, meters, tempos, and keys.

The use of repetitive figures and rhythmic schemes from Irish folk song

demonstrates Stanford's close connection with and study of its form and

structure.

Concerto, Op. 80

Stanford completed the Concerto, Op. 80, on July 16, 1902. He was

inspired to write it " . . . by a performance of a Weber concerto given

by [Charles] Draper, while the latter was still a student at the Royal

College of Music."^3 However, the style and structure of the

Concerto is considerably different than either of Weber's two clarinet

concertos. Although Draper was the first clarinetist to perform it,

Stanford's dedication was to Richard Miihlfeld, for whom Brahms had

written his clarinet works.

The characteristics of Brahms' compositional style are:

1. Melodic ideas are seldom Independent entities with a specific ending.

2. An exposition or other section may consist of several motives each in turn introduced, manipulated and merged into the next so it is difficult to identify one as more important than the other.

3. The constant process of motivic generation and transformation through a constantly shifting contrapuntal-narmonic fabric can make any point in the form souna like a development.

4. Elision of cadences, irregular phrase lengths and metrical shifts within the basic meter CO cl

ntribute to obscuring clear definition of assical formal divisions.•'•'*

^^weston. Virtuosi, p. 263.

^"^William R. 'Aari, Examples for the St'.cv of Musical Style (DuDUGue, Iowa: William C. 3rown, 1970), pp. Ia3-ic^.

108

Stanford's Concerto displays the characteristics listed above, which

complicates the analysis of its formal structure.

The work has the fast-slow-fast design of a standard concerto in

three movements; however, all three movements are connected, and the

themes of the first and second movements are combined to form the third

movement, suggesting a large binary structure. Of the 641 total

measures, the first movement (176 measures), combined with the second

movement (155 measures), is almost exactly equal to the length of the

third movement (310 measures). A tutti section throughout the

composition suggests a large rondo pattern also.

The formal structure of the first movement 1s ternary with the

opening tutti returning in measure 135. The second section begins at

the mid-point of the movement In measure 81. The second movement has a

modified binary structure with the second section beginning at the

mid-point of the movement in measure 77. The third movement, a rondo,

begins with a proposed recapitulation of the first movement, but it

quickly combines both of the principal motives from the first movement

into a 46 measure tutti section. The rondo presents the material from

the first movement, and the first half of the second movement, in

exactly the same order as originally introduced. The two principal

motives from the first movement return in the last section to complete

the rondo pattern. The resulting form of the third movement, with

divisions to indicate the original source, is ABAjCjA.

Stanford's phrases are constructed in Irregular lengths. Most

phrases have tonal shifts, created by modal changes within the phrase.

The first movement, marked Allegro moderate, is. in j^ meter

109

throughout. The key center is A minor with frequent shifts to the

mediant C major. Secondary key areas are in the subdominant of both A

minor and C major (D minor and F major, respectively). The second

movement, marked Andante con moto, quasi ma piu tranquillo, is in

"common time" throughout. The key center is F major. Related through

the subdominant 3-flat major, the secondary keys areas are E-flat major

and C minor. C major, the dominant of the tonic key, is used briefly

to introduce the second section of the movement (measure 81). The

third movement, marked Tempo I, Allegro moderato, begins with the I

meter of the first movement, but changes quickly to ^ meter during

the introductory tutti section and continues for the remainder of the

movement. The key center is A minor/C major for the first half of the

movement before changing to A major at measure 151. A modal change to

A major (almost exactly half-way through the movement) happens in the

middle of the second section of the rondo form, ABACA, in preparation

for the third section. Secondary key areas for the third and fourth

sections are E major, B major, and F-sharp major/F-sharp minor.

Of prime consideration in the construction of the work is

Stanford's use of motivic generation and transformation. The extensive

use of the Intervals of thirds and sixths in the Three Intermezzi is

found also in the concerto; however, the melodic Intervals of a fourth

and a fifth are also important. Through phrase extension and motivic

generation, fourths are contracted to thirds (sometimes expanded to

fifths), and fifths are expanded to sixths, primarily through

nonharmoniclsm.

no

The opening orchestral tutti supplies the primary motives for the

composition. Phrases developed from the motives frequently have

endings that are transformed into new motives, which are combined with

other motives from the opening tutti. Example 25 displays the opening

tutti, the clarinet cadenza, and the completion of the phrase grouo.

The repeated figure of the first two measures, the principal motive in

the composition, outlines the Interval of a descending third. Measures

3 and 4 supply many of the additional motives used in the work. The

melody descends an octave with a natural emphasis placed on the dotted

eighth notes of beats two and three (intervals of a fourth and a fifth

below beat one of measure 3). The sforzato G chord on beat three of

measure 4 appears, at first, to be the dominant of C major; however,

through a phrase extension, the cadence in C major (a major sixth below

the first note of measure 3) is elided, and the key of A minor is

established. The dotted eighth note on beat three of measure 3 and the

dotted eighth notes on beats one and two of measure 4, with the

sforzato quarter note, provide a pivotal motive used throughout the

composition. The clarinet cadenza is built on the same intervals:

down a fourth, up a third, and down a second. The second and third

notes of the group are lower and upper auxiliary notes. The

accompanying chord provided by the last note of the tutti section

(measure 7) is a half-diminished seventh chord on B, a pivotal chord to

C major and A minor. The ornamental notes of the clarinet 1 ijie are

lower neighbor, upper neighbor, and change tones.

Ill

Example 26. Concerto, Op. 80, Movement I, measures 1-22.^^

Allctm ffloucnio

CtanaM in Bk

S w f - - <• - i ^ l I "

/ ^.

^-Copyright J .3 . Cramer & Co. L t a . , 23 Garrick Street, Lonccn, WC2E 9AX. Used by permission.

112

Example 27 presents the theme from the second section of the first

movement (measure 81). The motive, generated from the last two notes of

the tutti section in measure 7, Increases the initial interval of a

second to a descending fifth. An extension in measures 84-35 completes

the phrase with a skip of a descending fifth and, followed by an

ornamental resolution, a descending second.

The motive of measure 81 1s also included in measures 3-4 (see

Example 26). The last two sixteenth notes of measure 3 and the first

note of measure 4 provide the corresponding Intervals. The return of

the orchestral tutti (measure 135) restates the beginning tutti and

interjects the motive from measure 81, beginning in measures 148-149.

Example 28 (measures 148-155) demonstrates the interaction of the two

primary motives of the movement. The position of the second motive

corresponds to the clarinet cadenza in measure 9 (see Example 26). A

closely related motive (also from measures 3 and 4) is repeated by the

clarinet on beats two and three of measures 10 and 11, and on all three

beats of measure 12. Example 28 places the metrical weight of the

measure on the second motive and shifts the first motive (dotted eighth

and sixteenth notes) off the primary beat, a feature that is found

extensively in the third movement.

There are two other related motives from the first movement that

are worthy of mention. Example 30 is a variant of Example 29, and both

examples are derived from measure 1 (see Example 26). Example 29

113

Example 27. Concerto, Op. 80, Movement I, measures 80-87.^^

Example 28. Concerto, Op. 80, Movement I, measures 148-155

' f

^^Examples on this page are used by permission. Copyrignt J.3 Cramer h. Co. Ltd., 23 Garrick Street, London, WCZE 9AX.

114

Example 29. Concerto, Op. 80, Movement I, measures 35-37.^^

/

\

1 [

^ - T -

• J

, V

1

0.

^ —^ • F» • —

4 *: *

1

i '

t> -* a.

- ' T : ')

«

t 1 ,*• ••

4

^^^m

' J *

> •

Example 30. Concerto, Op. 80, Movement I, measures 55-56,

J9 «sar»«j.

^ ^

-'^Examoles on th i s page are used by permission. Cooyrignt J.3, Cramer 3. Co. L t d . , 23 Gar-ick S t ree t , London, WC2E 9AX.

115

emphasizes beat two of the measure which is the rhythmical substance of

the trumpets and timpani in measure 1.^^

The primary theme from the second movement is generated from

motives in the tutti section of the first movement (see Example 26,

measures 3-^ and 5-7). Discounting for the moment the two anacrusis

notes in measure 3 of the second movement (Example 31), the shape of

measure 4 and the first half of measure 5 is similar to the general

shape of measure 3 and the first note of measure 4 (see Example 26).

The second half of measure 5 and the first three beats of measure 5,

second movement, are similar to measures 6-7 of the first movement.

The first three beats of measure 6 in the second movement, are more

closely related to the notes on beats one, two, and three of measure 4,

first movement, especially, because of the comparable sforzato on beat

three of both measures.

The construction of many phrases in Stanford's Concerto is

circular, primarily, because of phrase extensions, consequent phrase

development, and non-tonic cadences. The repetition of the principal

theme in the second movement (see Example 31, measures 7-13) varies the

motive group from measures 5-6 by outlining the ascending interval of a

sixth (measures 9-10). Further modifications in measures 11-12 prepare

a half cadence for the clarinet entrance in measure 13 (the same

anacrusis as measure 3). The clarinet entrance, an imitation of the

^^The examples are from the piano reduction, edited by Pamela Weston. The instrumentation for the Concerto calls for flutes, oboes, and bassoons in pairs, four horns, two trumpets, timpani, and strings. Refer to the autograpn score in Appendix C.

Example 31. Concerto, Op. 80, Movement II, measures 1-13.^^

Amiunce mn moto. rrrd piu trunuuiilo

• » • —

1. ± ± •S- — 0' -r .-*•

? * •

116

— — -9-

® r - 7 - ^ ., .".a— ,

1 • : ** 9

1

#

«^

• •

•9-

•9 -

i

1 "

9 —

P

9 -

1

1

'J >' ' ••

1 *5

PP 1 1 #•

! ' 1

'

P

1

I

:* 7^ 7 T

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117

cadential ending, continues with the motive from measure 4. The

relationship of the phrase endings and the phrase beginnings of

measures 11-13 (continuing for the next 34 measures) culminates in a

cadence in the tonic key of F major (Example 32). For the phrase

ending (measures 46-47), the clarinet alters the eighth note motive of

measure 11 (see Example 31). The altered motive, repeated by the horns

and cellos in measure 47, compares with the opening tutti of the first

movement, measure 3, the first five notes (see Example 26). The horn

and cello melody in measures 48-49 is extracted from measures 4-5 of

the first movement (refer to the first violin part on page one of the

autograph score. Appendix C).^° The first and fourth notes of

measure 4, with the second and third notes of measure 5, provide the

pitches for the horns and cellos in measures 48-49, the second

movement.

The motives of measures 47-49 are used to form a striking

conclusion to the section (Example 33). Donald Tovey, in his Essays in

Musical Analysis, describes the passage as " . . . an impassioned

71 outburst on the clarinet with its most dashing arpeggios . . ."

Five measures prior to measure 65, the horns and violas (and then the

violins and violas) restate the motive from the beginning of the

movement. Beat three of measure 65 to beat one of measure 66

emphasizes the interval of a fourth, like the motive from measure 48.

20The piano reduction does not preserve the complete rhythmic content or the tied note from measure 4 to measure 5.

2lDonald F. Tovey, Essays in Musical Analvs-^s, Volume III -Concertos (Oxford: Oxforo University Press, 1935), p. r^3.

118

Example 32. Concerto, Op. 80, Movement II, measures 45-51.22

Example 33. Concerto, Op. 80, Movement II, measures 65-70,

l\-^-— ^ 1 —

\ ! . . ' 1 #

±:- — _ , i ; ; ;

k

* T—

*

- _ , . , .

V

• •

S2.

- ^

2.

22£xamoles on this page are used by permission. Copyrignt J.3, Cramer i< Co. Ltd., 23 Garrick Street, London, WG:E 9AX.

119

Beat three of measure 67 to beat one of measure 68 emphasizes the

interval of a fifth, like the motive of the beginning of the movement.

The motives at the ends of measures 66 and 68 are variants of one

another, and both are variants of the motive in measures 47-48.

There is one more important theme in the second movement (Examole

34). Because of the flow of one melocy after another, it is difficult

to distinguish the formal structure of the second movement; however.

Example 34 is seen as the mid-point of the movement, and its harmonic

center is, temporarily, the dominant key of C major. As usual, an

extension in measure 79 quickly sends the phrase into the relative key

of A minor. The two motives of measures 77 and 78, respectively, could

be considered as new motives; however, they reveal a strong resemblance

to measures 45-47 (see Example 32). Also, measure 78 is similar to the

descending fourths pattern of the clarinet cadenza in the first

movement (see Example 26).

As stated earlier, the third movement is a rondo constructed with

the thematic materials of the first and second movements. Presented in

the same order as originally Introduced, each motive is clearly

recognizable in the rondo's I meter. Even though the motives are

transformed from the I meter and the "common time" of the first ana

second movements, their stylistic qualities are maintained. The

articulated dotted eighth and sixteenth notes of the opening tutti (see

Example 26) are rhythmically even in the clarinet entrance at measure

47 (Example 35). The lyric qualities of the theme of the second

section, first movement (see Example 27), are maintained in the third

120

Example 34. Concerto, Op. 80, Movement II, measures 75-80.23

Example 35. Concerto, Op. 80, Movement III, measures 47-56,

Clarinet in A

•J •"/

' - I

• « •

m •4

k. ^ u.

-^

M

•_ O

.*• • '

X

k. ' '

pp /

^

/ f t

1 1

.

/

".

/

IL.

23Examples on th i s page are used by permission. Cooyrignt J.3, Cramer & Co. L t d . , 23 Garrick St reet , London, WCZE 9AX.

121

movement (Example 36), and the principal theme from the second movement

(see Example 31) is preserved in the third movement (Example 37).

The opening motive of the first movement tutti section places its

weight on the first beat of the measure. By the end of the first

movement, the tutti section displaces the same motive to beat two of

the measure (see Example 28). The tutti sections in the third movement

compress the motive into a repeated and syncopated pattern (Example

38).

As stated earlier, the instrumentation of Stanford's Concerto

calls for flutes, oboes, and bassoons in pairs, four horns, two

trumpets, timpani, and strings. The instrument providing contrast and

interaction with the clarinet for most of the work is the oboe. The

horns and the cellos provide contrast and variety also by answering the

clarinet on sustained tones and phrase endings.

The texture and fabric of the first two movements is primarily

homophonic, with the primary Interest provided by overlapping phrases.

The third movement, especially In the latter portions, is more

polyphonic, with compressed rhythmical values, imitative entrances that

are offset rhythmically and placed in close succession, and the

overlayering of motivic materials. In general, the Irregularity of the

phrase structure in the whole composition, along with metrical shifts

and accents, lends itself to the overlapping and overlayering of

thematic materials.

In summary, Stanford's Concerto, written in a style that can be

compared to Brahms' compositional style, was originally dedicated to

Richard Miihlfeld, the clarinetist for whom Brahms had written his

122

Example 36. Concerto, Op. 80, Movement III, measures 130-135. 24

(D ,. eiDpo

U-y?

A

^ • • « .

• / . . • I .

Ii

\.h.

^ * ,

j

"

\.h.

= =

." - "^"S.— "

J 1 J .. T

1 J

24Copyr1ght J .3 . Cramer 2. Co. L t d . , 23 Garrick Street , London, WC2E 9AX. Used by permission.

123

Example 37. Concerto, Op. 80, Movement III, measures 247-250.25

Example 33. Concerto, Op. 80, Movement III, measures 98-101

(a)

2-Examoles on this page are usee oy permission. CoDyr'gr,t J.3 Cramer & Co. Ltd., 23 Garrick Street, London, WC:E 9AX.

124

clarinet works. The work has the fast-slow-fast design of a standard

concerto in its three movements; however, all three movements are

connected, and the thematic material from the first and second

movements is combined to form the third movement. The first movement

is te^^nary, the second movement is a modified binary structure, and the

third movement is a five part rondo. The primary key centers of the

composition are: A minor for the first movement, F major for the

second movement, and A minor for the third movement with a modal change

to A major in the second half of the movement. Irregular phrase

construction, primarily through extension, contribute to constant

shifts in tonality. Shifts in key centers occur primarily from the

subdominant to the tonic, and/or their related major and minor keys.

The opening orchestral tutti supplies the primary motives for the

entire composition. The construction of many phrases is circular,

primarily because of phrase extensions, consequent phrase development,

and non-tonic cadences. In general, the irregularity of the phrase

structure for the whole composition, along with metrical shifts and

accents, lends Itself to the overlapping and overlayering of thematic

materials.

Sonata, Oo. 129

The Sonata (1911) is Stanford's best known clarinet comoosition.

Its popularity prompted Stainer and Bell to issue a reprint (1963) of

the 1913 publication, and Galaxy Music Corporation has reprintea it

(with a few sucerficial corrections) for distribution in the Unitea

125

States.26 in his article for Cobbett's Cyclopedic Survey of Chamber

^'Jsic (1927), Thomas Dunhill cites the work for its worthy addition to

the clarinet literature:

The Clarinet Sonata, a beautifully wrought composition, deserves a special word of praise. It is a notable addition to a rather scanty repertory, and boasts a slow movement, in the form of a Caoine (or Irisn lament), which is deeply expressive and poetically conceived.2^

As with the Concerto, Op. 80, and Three Intermezzi, Op. 13, of the

preceding sections, Stanford's Sonata is written in a style that can be

compared to the music of Brahms, and the second movement, Caoine,

demonstrates his continued preoccupation with the Irish folk song.

The first movement's formal structure is a sonata form. Marked

Allegro moderato, the movement contains 239 measures, all in

meter. The division for each section is: exposition, measures 1-39;

development, measures 90-136; recapitulation, measures 137-209; and

coda, measures 210-239. In the key of F major, the exposition's first

theme has key centers in F major and in the related D minor, and the

second theme (measures 45-89) has key centers in C major and A minor.

The development section has key centers of A-flat major, F minor, C

major, and G major. In the recapitulation, the first theme is centered

in F major and C major, but the second theme has key centers in A-flat

26The printer of the 1963 publication is Lowe and Brydone Limited, London. The Galaxy publication is printed by Gal Hard Limited, Great Yarmouth, and both publications are printed from the original plates of 1918.

27Dunhill, Cobbett's, pp. ^53-i54.

126

major, F major, and C major. The coda, centered in F major, contains a

brief section in A-flat major.

Marked Adagio (quasi Fantasia), Stanford indicates the title

"Caoine" for the second movement. It encompasses 75 measures, all in

"common time." The formal structure is a modified ternary form, but

could be considered as a seven-part rondo, or a sonata-rondo, ABA|B|ABA.

The first section is ternary (measures 1-25), with a return of the

first theme in measure 15. Both themes are centered in D minor, with a

contrasting second theme in F major (measures 7-14). The second

section (measures 26-45) shifts to D major and develops the motives of

the second theme. Although the section extends the materials of the

second theme, reaches the height or climax of the movement, and shifts

the tonality to A-flat major and the Neapolitan E-flat major, it is

relatively short. The developmental sections of the sonata-rondo form

usually occupy a greater percentage of the overall length a

composition. Through the Neapolitan E-flat, the third section

(measures 46-75) begins in D major, but returns to the D minor material

of the first theme (measure 50). The center part of the third section

(second theme) traverses the keys of E-flat major, C minor, C major,

and F major. The first theme returns in the tonic key, D minor.

The third movement, as with the first movement, is a sonata form

and has an overall key center of F major. Marked Allegretto grazioso,

the movement contains 274 measures, all in ^ meter. The divisions

for the sections are: exposition, measures 1-105; development,

measures 105-202; recapitulation, measures 202-262; and, coda, measures

262-274. Many phrases of the composition contain modal shifts created

127

by the t r a n s i t i o n a l character of the f i r s t theme (discussed l a t e r ) .

The f i r s t theme of the exposi t ion begins w i th a D major seventh-chord,

the dominant o f G minor {-(j- in F major) , and progresses through C

major to F major a t measure 22, the second par t of the f i r s t theme.

The f i r s t theme, serving as t r ans i t i ona l ma te r i a l , progresses through

the keys of F minor, A - f l a t major, and D- f la t major. The second theme

of the exposi t ion (measures 51-105) begins wi th the Neapolitan of the

dominant key, C major. Key areas of t h i s sec t ion , other than C major,

are: E minor, E major, and A minor. The major i ty of the development

sect ion (measures 105-202) exp lo i ts the f i r s t theme wi th modulatory

progressions through the keys of F major, D minor, A minor, C major, F

minor, and A - f l a t major (measures 105-179). Beginning with measure

179, the second theme o s c i l l a t e s between A - f l a t major and i t s

subdominant, D - f l a t . Beginning wi th measure 202, the recap i tu la t ion ,

the f i r s t theme employs an A - f l a t major chord as the Neapolitan of G

minor, and the D- f l a t major chord is chromat ical ly a l tered to D major,

becoming the dominant of G minor (—^ in F major) . The f i r s t theme is

centered in F major and C major wi th a return of the second theme in F

major (measure 243), The coda (measures 262-274), marked semore piu

piano e t r a n q u i l l o , emoloys the f i r s t theme, br ing ing the composition

to a c lose.

The melodic const ruct ion o f Sonata, Op. 129, is derived from

vary ing combinations of i t s mot iv ic elements. The primary themes of

the major sections are developed from one or more motives, whicn, in

t u r n , contain phrase beginnings and endings of other motives.

Con t r ibu t ing factors are the r epe t i t i on of the i n i t i a l pnrase grouo,

128

and the intertwining of melodic materials of the clarinet and piano.

In many instances, the piano employs contrasting motives to those of

the clarinet. The piano serves an Integral part in this process which,

as with Brahms' clarinet works, suggests equal status with the

clarinet.

Many of the motivic elements, both melodic and rhythmic, are

displayed in the first sixteen measures of the first movement (Example

39). The clarinet (measures 1-2) supplies the motives of the first

theme group of the exposition. With the repetition of the first two

measures on different tonal levels in measures 3-4, the remainder of

the phrase group is constructed from the last beat of measure 1 and all

of measure 2 (an important motivic element for the composition). In

addition, beat two of measure 1 and beat one of measure 2 provides

motivic combinations used frequently in the composition. The "change

tones" (with Its anticipatory note), in the bass voice of the piano

(measure 9), serves as a motivic element for the transition to the

second theme group of the exposition (Example 40). The piano presents

the material of the second theme group (Example 41), an extension of

the clarinet phrase ending in measure 10 (see Example 39). The

clarinet entrance in measure 53 varies the piano entrance by Inverting

the phrase ending of measures 33-34 (see Example 40). Following the

second theme group, a transition (Example 42) leads to the closing

theme or codetta. The transition is a triplet variation of measure 9

(see Example 39) and the first transition (see Example 40). The

closing theme of the codetta (Example 43) is an inversion of the

129

Example 39. Sonata, Op. 129, Movement I, measures 1-16. 28

Allecro modprKto

PIANO

2Scopyr1ght. Used with permission of Galaxy Music Corporation, New York, NY.

130

Example 40. Sonata, Op. 129, Movement I, measures 30-35.29

^•*j "^T; "^j

Example 41. Sonata, Op. 129, Movement I, measures 46-54

• * : » ' r — 1 — 7 -

^^S^r«ij.|

< » rs n= -v

^ ^ • • ^ *-M-r ' u f II : a

= ^ * E ^

im r-•ia.

-•-•—* * — - t :2!rH35=rr:

»- r

25copyr1ght. All examples on tnis page are used with permission of Galaxy Music Corporation, New Yor:<, NY.

Example 42. Sonata, Op. 129, Movement I, measures 68-71.30

131

- I—riCT-JL_jLj^ l—i0-. -•-JC^r -X i3K._ — ,

ro-ir^2Xr^' ; ^ *i7CO ra/ / .

^ T ~ T r ~ -^ac:g=;=CT— —

-y / •

a tempo

' ^ / • ^ E5^±^

Example 43. Sonata, Op. 129, Movement I, measures 78-93.

/_^/v^

30copyright. All examples on this page are used witn permission of Galaxy Music Corporation, New York, NY.

132

clarinet line of measures l-2(see Example 39); however, the piano

maintains the original intervals of the theme.

Beginning in measure 90 with the closing theme (see Example 43),

the development section employs materials of the first and second theme

groups. In the tonic key, the recapitulation begins in measure 137

(Example 44). The piano provides the melody of the first theme, while

the clarinet employs elements of the piano part of measures 1-3 (see

Example 39). As seen in Example 45, the coda incorporates the closing

theme of the exposition's codetta (see Example 43). The second theme

group is presented, starting in measure 226, to bring the first

movement to a close (Example 46).

As stated earlier, the second movement contains two distinct

thematic groups that alternate consistently. The first group is

characterized by sweeping runs in the clarinet at a forte dynamic level

that diminishes into a repeated rhythmic figure. The contrasting

second group, marked espressivo, employs a piano or pianissimo dynamic

level with a more narrow range. The thematic group is repeated three

times in the second movement, the first and third times by the piano,

and the second time by the clarinet (the middle section in D major).

Example 47 displays both thematic groups. The accented notes of

measure 2 have the rhythmic and melodic content of measure 2 of the

first movement (see Example 39). The shape of the lines of the first

four measures is similar to the last presentation of the second theme

group, the first movement (see Example 46). The repeated dotted-eighth

and sixteenth note figures In measures 5-5 are related to beat two of

easure 9 and beats one and two of measure 10 as seen in Exa,-io!e 39 m

133

Example 44. Sonata, Op. 129, Movement I, measures 137-140.31

Example 45. Sonata, Op. 129, Movement I, measures 205-213

Example 46. Sonata, Op. 129, Movement I, measures 226-229,

31Copyr1ght. All examples on this page are usee with permission of Galaxy Music Corporation, New York, NY.

Example 47. Sonata, Op. 129, Movement I I , measures 1-14.^2

II C A O I N E •

134

Adagio (quasi Fantauia.)

PIANO

i-^i 1.-. i ^ 2 = ; ^^i i"^

-<-^^-4-

l^ ^" "*^^ J? ^

^•* 9. " I ^"-- I ' I

rtf^

Ul'

r«//. d (0m p»

*¥ ,—^—^ «—# * •

^ — r t < ^ ^ * • ' • • I ' — = ^ •* * * ' —*" f ' * ~ * " 7 r ' a — — —^^'—- —CTCTCTZICT t*=^^-|?*^? *CTp«- l_ ,«—_j i^ : , • M-i > > cr"c. I * /-I i cresc.

'r.^0 :* ]

CTCT : r^ ••^* * r t : ^ - » — •

.Va Iriik LuMM, ptonouacid 'K(CB'.

32copyright. Used with permission of Galaxy Music Corporation, New York, NY.

135

(An explanation follows in the next paragraph). Although in a more

narrow range, the second beats of measures 8 and 10 provide motivic

contrast and correspond to the second beat of measure 2. The measures

are similar to the closing theme of the first movement (see Example 43,

measure 81).

The repeated dotted-eighth and sixteenth note figures in measures

5-6 of Example 47 are the same figures that end the second movement.

An appoggiatura on E resolves to the tonic, the root of a D minor

triad. The beginning motive of the third movement is chromatically

altered and extended to Include a third note, F-sharp (Example 48).

The resulting chord on the first beat of measure 1 1s D major, a modal

change from the D minor key center of the second movement. The second

note of the motive is an echappee, part of the "change tone" sequence

of measure 9 of the first movement (see Example 47). The second beat

of measure 1 and the first beat of measure 2 are descending thirds,

similar to measure 11 of the first movement (see Example 47). The

upper voice of the piano in measures 8-9 serves as a cadential pattern

for the end of the first clarinet phrase. The pattern serves a similar

function in measures 8-10 of the first movement (see Example 47). In

addition, the ascending clarinet line in measures 7-3 is similar to the

descending voice in contrary motion of the piano, measures 7-3, the

first movement (see Example 47).

The first theme group of the exposition, the third movement, is

constructed from the juxtaposition of the two three-note motives (the

first six notes of the clarinet line) of measures 1-2, Example 43. A

transition to the second theme group (Examole 49, measures 42-43)

136

Example 48. Sonata, Op. 129, Movement III, measures 1-18.^^

Ill

.Allegretto gratiobo

33copyright. Used with permission of Galaxy Music Corporation, New York, NY.

137

Example 49. Sonata, Op. 129, Movement III, measures 38-49. 34

?rP=iF r ^ ^ ^

.f / 7m

^ ^

T0

-^^

3^Copyright. Used with permission of Galaxy Music Corooration,

New York, NY.

138

transforms the first motive, the third movement, into the motive from

measure 2, the first movement (see Example 39). In addition, the

repeated pattern of the transition is similar to the same pattern of

the first seven measures, the first movement (see Example 39). The

measures of Example 50 follow immediately after the measures of Examole

49. In Example 50, the repetitive motive in the upper voice of the

piano introduces the second theme group of the exposition. The

Intervals are similar to the last three notes in the bass voice of the

piano, the first movement, measure 9, and the intervals are present in

the upper voice of the piano, measures 8-10 (see Example 39). The

quarter notes of the second theme group are an augmentation of the

eighth notes In measure 9, first movement; however, the phrase ending

of measures 60-61 presents the "change tones" in their original form.

The material of the two theme groups is used to develop the remainder

of the movement; however, Example 51 displays a section of the

development that is reminiscent of the second movement. The section is

a transition from the first motive of the first theme group to the

second theme group.

In summary, the Sonata is Stanford's best known clarinet

composition. As with the Concerto, Op. 80, and ^hree Intermezzi, Op.

13, the Sonata is written in a style that can be compared to the music

of Brahms. The second movement, Caoine, demonstrates Stanford's

preoccupation with the Irish folk song. The first and third movements

are in sonata form. The second movement is a modified ternary form,

although it could be considered as a seven-part rondo, or a

sonata-rondo. The construction of the composition is derived from

139

Example 50. Sonata, Op. 129, Movement III, measures 50-62.^^

l y - : ! - .

-/Lm • > - ' • y ' ^ 1

• • V ^ * ^ - • •

/ .

0 ^

-* x ^

^

• *

; . • 1

- T - l

i

""••"I j —

-•• -» '

1

9

• " -

' V '

' » '; " —- —1 1 , •» 1 i t . - . >

_ r t « 1 m r

35Copyright. Used with permission of Galaxy Music Corporation, New York, NY.

140

Example 51. Sonata, Op. 129, Movement III, measures 157-174.36

fe -V :±S:

m i' • II W r> ^

Z2M. X~iJ?~^ SfS- Jim.

t i = 'r^~

36Copyright. Usee with permission of Galaxy Music Corporation,

New York, NY.

141

varying combinations of melodic and rhythmic motives from the first

sixteen measures of the first movement. The phrases of the major

sections are developed from one or more of these motives and have

modified beginnings and endings. Contributing factors are the

repetition of the initial phrase group, and the intertwining of melodic

materials of the clarinet and piano. In many instances, the piano

employs a contrasting motive to those of the clarinet. The piano

serves an Integral part in this process which, as with Brahms' clarinet

works, suggests equal status with the clarinet.

CHAPTER IV

CONCLUSIONS AND RECOMMENDATIONS FOR FUTURE STUDY

Charles Stanford was a gifted and energetic person and a leader in

the field of music for his adopted country, England. His talents and

abilities were recognized early in his career by his appointment to the

conductorship of the Camoridge University Musical Society. His

teaching skills were verified through his appointment as a professor of

composition at the Royal College of Music when it opened in 1833. He

was a master in the techniques of musical composition and, over the

span of his lifetime, became a prolific composer in all of the major

forms of music.

Despite his successes in attracting major composers of the late

nineteenth century to England, in training the most promising student

composers of the twentieth century, and in receiving considerable

recognition for his church music, vocal music, and even several of his

operas and symphonies, Stanford's name is relatively obscure in the

world of music. He complained, in his books and writings for

periodicals, about the nonaccepting attitudes of the English people for

their own music and musicians, inferring that the English people

considered them to be inferior to those of the Continent. He

complained about his difficulty in getting Englisn publisners to

publish English music, and indeed, many of his own compositions are

still in manuscript and have not been published. But, many of

Stanford's problems, in gaining recognition as a composer, lie in his

conservative rationalization of musical aesthetics. His attempts to

143

establish a musical tradition for England were based on the proven

"classical" values and heritage of European composers, mainly German.

He frequently cited the great German composers of the past, such as

Beethoven, Schubert, Schumann, and more recently, Brahms, as models for

his own compositions, although he was Influenced, to a lesser degree,

by other composers such as Verdi, Tchaikovsky, Saint-Saens, and Dvorak.

To a large degree, the appeal of Stanford's music to the Germans and

the English was based upon the folk quality, i.e., Irishness of his

music; however, in refusing to abandon the Germanic tradition, the folk

quality of his music is generally suppressed, and it was his students

who excelled in Irish and English folk song composition. With the rise

of Germany as a powerful political state, and the radical changes that

took place in the world of musical composition, Stanford's music became

out-of-style and less accepted.

The formal structures of Stanford's clarinet music are of standard

design, with the possible exception of his Concerto. Its connected or

continuous movement structure was not a new concept when he composed it

in 1902, for other composers such as Mendelssohn, Liszt, and Brahms,

had used it many times before. The harmonic language of his clarinet

works is also comparable with that of other composers of the late

Romantic period, especially Brahms. It is Stanford's ability to

integrate motivic and Irish elements into melodic lines that gives him

a separate identity. His melodic content is seldom sacrificed at the

expense of other compositional devices. Even when his melodies do not

sound Irish, comparable underlying structures are usually present.

144

Because of his busy schedule and his ability to compose directly

into score, Stanford's music sometimes suffers from a lack of

refinement or revision. The majority of his clarinet works, however,

were composed during periods of lesser activity. His Three Intermezzi

and the Sonata were completed in December of 1379 and 1911,

respectively. The Concerto and the Serenade were completed in July of

1902 and 1905. The Three Intermezzi and the Sonata are the two

clarinet works published during his lifetime, and his notes to the

publishers in his autograph materials Instruct them to follow the

changes in the clarinet parts. The differences In his scores and parts

reflect the revision process, possibly, as a result of hearing

performances of the works.

Although the Concerto was performed on several occasions during

his lifetime, the full score was never published, and there is no

surviving autograph clarinet part. The manuscript clarinet part in the

Royal Academy of Music Library, and the materials from Pamela Weston's

piano reduction, may reflect changes Stanford made in his autograph

score, although the changes could have been made by a performer of the

work. The first verifiable performance of Serenade occurred in 1937,

and there is no record of the parts used in this performance. The

Minuet (May, 1911), which may be an arrangement of material from his

seventh symphony, the Fantasy in B-Flat Major (October, 1921), and

Fantasy in G Minor (June, 1922), have not been performed and remain in

manuscript.

The editions of Three Intermezzi by Colin Bradbury and the piano

reduction of the Concerto by Pamela Weston represent worthwnile

145

additions to the clarinet re'pertoire. Because Bradbury did not have

access to Stanford's autograph materials, his 1979 edition is somewhat

flawed from having been prepared from Novello's edition of 1880. The

inconsistencies of the manuscript materials are clearly reflected in

Novello's edition in addition to errors created by Novello's engravers.

While Weston's piano reduction of the Concerto (1977) is a substantial

addition to the literature for clarinet and piano, the subtleties

resulting from the timbre and completeness of line afforded the

Instruments of the orchestra, as with all reductions, are not realized.

It is hoped that the publication of the full score will be forthcoming.

The inconsistencies between the autograph score and the autograph

clarinet part to the Sonata are reflected in Stainer and Bell's

publication of 1918. The differences of the autograph clarinet part

when compared with the autograph score are the result of Stanford's

revisions or inconsistencies. Generally, Stainer and Bell's piano

score is engraved from the autograph score, and the printed clarinet

part is engraved from the autograph clarinet part; however, additional

inconsistencies exist that are not in the autograph materials, and must

be considered editorial or as engraving errors. The reprints of the

1918 edition by Stainer and Bell and Galaxy Music are positive

indications of a renewed Interest in the Sonata.

The merit of a composition cannot be fully appraised or

acknowledged without an adequate opportunity to be performed. It is

therefore recommended that Stanford's published clarinet music (Three

Intermezzi, the Concerto, and the Sonata) be given greater exposure

through public performances. With only three verifiable performances

146

(1937, 1986, and 1987), the Serenade should be given more performances

with the expectation that it may be published in the future. For the

clarinet works that remain in manuscript and have had no verifiable

performances (the Minuet in B-Flat Major, the Fantasy 1n G Minor, and

the Fantasy in F Major), it is recommended that an appropriate

publisher be found to provide the opportunity for public performances

of these works. The Fantasy in G Minor, and the Fantasy in F Major are

excellent candidates for publication because both are complete works

and have complete sets of autograph performance parts with the

autograph score. With these works as well as Stanford's other clarinet

compositions, future editors should consult the autograph materials to

insure the accuracy of their editions.

SELECTED BIBLIOGRAPHY

Books and Periodicals

Baker, Theodore. "Sir Charles Villiers Stanford," Baker's Biographical Dictionary of Musicians, 7th ed. New York* G Scnirmer, 1984, p. 2189.

Colles, Henry C. The Oxford History of Music, 2nd ed., 7 vols. London: Oxford University Press, 1934; reprint ed., New York: Cooper Square Publishers, 1973.

Dunnill, Thomas F. "Charles Villiers Stanford: Some Aspects of His Work and Influence," Proceedings of the Royal Musical Association LIII (1927), pp. 41-65: "

"Sir Charles Villiers Stanford," Cobbett's Cyclopedic Survey of Chamber Music, 2nd ed., 3 vols., ed. Walter W. Cobbett. London: Oxford University Press, 1963, II, p. 451-454.

Forsyth, Cecil. Orchestration (London, 1914). 2nd ed. New York: Macmillan, 1949.

Greene, Harry Plunket. Charles Villiers Stanford. London: Edward Arnold, 1935.

Grout, Donald J. A History of Western Music. New York: W. W. Norton, 1960.

Houser, Roy. Catalogue of Chamber Music for Woodwind Instruments. Bloomington: Indiana University School of Music, 1962; reprint ed., New York: Da Capo Press, 1976.

Howells, Herbert. "Charles Villiers Stanford (1852-1924), An Address at his Centenary," Proceedings of the Royal Musical Association LXXIX (1952), pp. 19-31.

Hudson, Frederick. "A Catalogue of the Works of Charles Villiers Stanford (1852-1924)," Music Review XXV (1964), pp. 44-57.

, "C.V. Stanford: Nova Bibliograpnica," Musical Times CIV (1963), pp. 728-731.

. "C.V. Stanford: Nova Bibliographica II," Musical Times CV (1964), pp. 734-738.

. "C.V. Stanford: Nova Bibliographica III," Musical Times CVTII (1967), p. 326.

147

148

• "A Revised and Extended Catalogue of the Works of Charles Villiers Stanford (1852-1924)," Music Review XXXVII (1976) oo 106-128. ly ^>'-

• "Sir Charles Villiers Stanford," New Grove Dictionary of Musicians XVIII (1980), pp.70-74. '

. "Stanford, (Sir) Charles Villiers," Die Musik in Geschichte und Geqenwart XII (1965), columns 1172-1184

Joyce, Patrick W. Old Irish Folk Music and Songs. New York: Cooper Square Publishers, 1965. ~

London. The British Library. Catalog of Monthly Chamber Concerts [e.1404.(2.)]. -'

Musical Times (London). Review of the first performance of Sonata, Op 129, LVII, April 1, 1916, p. 201.

Tribute to John Parr,including the performance of Serenade, Op. 95, 1945, p. 172.

Norris, Gerald. Stanford, the Cambridge Jubilee and Tchaikovsky. Newton Abbot: David and Charles, 1980.

Porte, John F. Sir Charles V. Stanford. London: Kegan Paul, Trench Trubner and Company, Limited, 1921; reprint ed., New York: Da Capo, 1976.

Stanford, Charles V. Brahms, Masterpieces of Music Series. London: Jack, 1912.

. Interludes, Records and Reflections. London: John Murray, 1922.

Musical Composition: A Short Treatise for Students. London Macmillan and Stainer and Bell, 1911/1949).

Pages From an Unwritten Diary. London: Edward Arnold, 1914

"Some Thoughts Concerning Folk-song and Nationality," Musical Quarterly 1/2 (1915), pp. 232-245.

. Studies and Memories. London: Constable, 1903,

and Forsyth, Cecil. A History of Music. London: Macmillan and Stainer & Bell, 1916/T95r

and Graves, A.P. Songs of Old Ireland. London: Boosey ana Q.O., 1882.

149

and Shaw, Geoffrey. The National Song Book. London: Boosey and Co., 1906; Revised ed. by Sydney Northcote and Herbert Wiseman, The New National Song Book. London: Boosey and Co., 1958.

Street, Oscar W. "The Clarinet and Its Music," Proceedings of the Royal Musical Association XLII (1916), pp. 89-115.

Tovey, Donald F. Essays in Musical Analysis, Volume III - Concertos. London: Oxford University Press, 1936.

Vaughan Williams, Ursula. RVW: A Biography of Ralph Vaughan Williams. London: Oxford University Press, 1964

Walker, Ernest. A History of Music in England, 3rd ed., ed. J.A. Westrup. London: Oxford University Press, 1952.

Ward, William R. Examples for the Study of Musical Style. Dubuque, Iowa: William C. Brown, 1970.

Weston, Pamela. Clarinet Virtuosi of the Past. London: Novello and Co., 1971.

Wilkins, Wayne, compiler and editor. The Index of Clarinet Music. Magnolia, Arkansas: The Music Register, 1975.

Young, Percy M. A History of British Music. New York: W.W. Norton, 1967.

Manuscripts and Printed Music

Concerto, Op. 80. Autograph full score, manuscript No. 321, and iimuscript clarinet part, in the Royal Academy of Music Library, London.

Manuscript full score (copy), written in a copyist's hand, uTthe University of Newcastle upon Tyne Library, Newcastle upon Tyne, England.

Piano reduction, edited by Pamela Weston. London: J.B. Cramer & Co. Ltd, 1977.

Fantasy in F Major. Autograph full score and performance parts, manuscript No. 102, in the University of Newcastle upon Tyne Library, Newcastle upon Tyne, England.

Fantasy in G Minor. Autograph full score and performance parts, manuscript No. 100, in the University of Newcastle upon Tyne Library, Newcastle upon Tyne, England.

150

Minuet in B-Flat Major. Autograph full score, manuscript No. 96, in the University of Newcastle upon Tyne Library, Newcastle upon Tyne, England.

Serenade, Op. 95. Autograph full score, manuscript No. 31, in the University of Newcastle upon Tyne Library, Newcastle upon Tyne, England.

Sonata, Op. 129. Autograph full score and clarinet part, manuscript No. 83^1, In the Camoridge University Library, Cambridge, England.

. London: Stainer and Bell, 1918. American agents: Galaxy Music Corp., New York.

Three Intermezzi, Op. 13. Autograph full score, clarinet part, violin part, and manuscript clarinet part, manuscript No. 4, in the University of Newcastle upon Tyne Library, Newcastle upon Tyne, Engl and.

. London: Novello and Co., 1380.

. Edited by Colin Bradbury. London: J & W Chester Music, 1979.

Correspondence

Bradbury, Colin. Letter to the author, April 4, 1937.

The British Library. Letter to the author, October 7, 1987.

. Letter of December 3, 1987.

Bryant, Michael. Letter to the author, August 11, 1987.

Cambridge University Library. Letter to the author, December 3, 1987

Chester Music. Letter to the author, January 29, 1937.

Cramer Music. Letter to the author, January 27, 1937.

Dobre'e, Georgina. Letter to the author, November 19, 1987.

. Letter of January 13, 1988.

Galaxy Music Corporation. Letter to the author, February 23, 1987.

Hudson, Frederick. Letter to the author, June 8, 1937.

. Letter of June 29, 1987.

151

Letter of September 4, 1987.

Letter of September 8, 1987.

Letter of November 21, 1987.

Letter of April 17, 1988.

The Royal Academy of Music Library. Letter to the author, June 7, 1983.

The Royal School of Church Music. Letter to the author, September 29, 1987.

Rushton, Adrian. Letter to the author, December 15, 1987.

Weston, Pamela. Letter to the author, April 2, 1987.

. Letter of August 23, 1987.

APPENDIX A

EXCERPTS OF CORRESPONDENCE

152

153

56, Castlebar Road. EaiInff, Lonaon. V5 2DD

April 4th 1987

David Fentiell . Esq^ , Huslc Dept^, An^Glo State University, San Angel0^ Texas 76909. USA

Dear Ur. Fennel1,

Thank you for your letter of Xarch 22nd concerning the Intermezzi Op. 13 by Stanford. Graham Mackle f Chester Music had In fact already vo-ltten to me and enclosed a copy of your letter.

Here Is a photo-copy of the first edition from which I prepared nv ovm. As you will see, the piano score contains only a violin adaptation of the solo part. As the album from which this copy •-'as made is no longer in ay possession I should be jrateful if you would return the copy in due course.

, best -wishes for your research. I shall be interested to hear of anything significant that comes out of it.

Yours sincerely,

CJ^ (I Cjiln Bradburv.

~^

154

Directors H. Wilhi»«m Hansvn lOanist)) Robin Soyl* iManarjinq) R.J. Fr««man (Chairman)

OESTER IVU3C

J & W Chester/Edition Wilhelm Hansen London Limited Music oublishers Eag.e Coun London ECIM 5Q0 (Reg Ol.icei Tel: 0 1 - 2 5 3 6947 Telegr.m,: Guarnenus London ECl Tele. 919934

29 January 1987

David Fennell Esq Music Department Angelo State University SAN ANGELO Texas 76909 USA

Dear Mr Fennell

STANFORD: THREE INTERMEZZI

Thank you for your letter of 15 January.

We are happy to give you permission to reproduce short excerpts in your dissertation and would ask that you include the following acknowledgement:

Reproduced by kind permission of Chester Music

The edition was prepared from the original Novello publication and the manuscript is not in our possession. Should you wish to contact Colin Bradbury (of whom I was a pupil), his address is as follows:

56 Castlebar Road LONDON W5

Yours sincerely

^ 0 • (sr^cLcisy^ llcySST^

W G MACKIE C o p y r i g h t D e p a r t m e n t

cc JR Colin Bradbury

Rooisi'MPfl in London No ' 6 2 ' 5 r 3

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CRAMER MUSIC MUSIC Pi)BliSH€RS AHO SUPPI'EBS

23 Garrick Street, London, WC2E 9AX.

JL/JM

Mr. D. Fennell, Music DeparLinenU, ANGELO STATE UNIVERSITY San Angelo, Texas 76909 U.S.A. 27th January 1987

Dear Mr. Fennell,

Thank you for your letter of 15th January regarding the Stanford Clarinet Concerto, edited by Pamela Weston.

I confirm that we are the copyright owners of this edition. We have no objection to you using and quoting from this work in your proposed dissertation. The copyright acknowledgement should take the form:-

(£) Copyright J.B. Cramer & Co. Ltd., 23 Garrick Street, London, WC2E 9AX

used by permission

I'm afraid we don't have the original manuscript of the Concerto, as our only interest in it lies in the edition prepared for us by Pamela Weston, the work in its original form being out of copyright. If you want to contact Ms. Weston, her address is:-

Pamela Weston, 56 Tilehouse Way, Denham Green, Uxbridge, Middx.

I wish you success with your project.

Yours sincerely.

fr (fOl'l''^'•''''•'•' Jerry Lanning, Cramer Music.

156

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B- j y i GALAXY MUSIC CORPanATION • * - * 131 WEST 88 STREET. N6W YORK. NY. 10024 (212)874-2100

February 23, 1987

Mr. David Fennell Music Department Angelo State University San Angelo, TX 76909

Dear Mr. Fennell:

We are in receipt of your letter of January 15, 1987, which contained several questions regarding works of Charles Villiers Stanford for clarinet.

The copy of the SONATA which you possess and which you describe as the "current printing" is our edition. Therefore, no photocooy for purposes of "cross reference" is necessary. Since the CONCERTO, Op. 80, is not our publication you should contact the firm which is to publish this work regarding any use of this piece.

Permission is hereby granted to you to use in your dissertation excerpts from Charles Villiers Stanford's SONATA, Op. 129. This permission is contingent upon the following conditions.

1. The copyright notice on the source, together with the following inscription, is indicated beneath the excerpts:

Used with permission of Galaxy Music Corp., New York, NY.

2. This permission extends only to the unpublished dis­sertation. If the work is to be published, the publisher will in advance of publication contact Galaxy for a sepa­rate license.

If the above conditions are agreeable, please return to us a signed copy of this license.

Verv trulv vours. /erv cruiy yours, /

Mary !)/. ' Bennett 9 3 Copyrights and Permissions

Ul

a

2 AGREED: David Fenneil

157

University of Newcastle upon Tyne Dr Frederick Hudson 12 Claremont Street Nowcastia upon Tyne NE2 k\n England

LIBRARY NEWCASTLE UPON TYNE NE? 4HQ TELEPHONE (091) 232 8S11

LIBRAniAN BJ.ENBIGHT MA. DPMI

David Fennell, Esq Music Department Angelo State University San Angelo Texas 76909

8th June 1987

Dear Mr Fennell, Cha-rl^l Villiers Stanford

Thank you for your letter of Ist June telling me about youi-rBsearch on the clarinet music of the above for your PhD thesis and asking my help. You are not specific at this stage but it may be helpful if I set. out the known sources for Stajiford's opp. 10, 80 and 129, many of which you already possess.

OO' 13: Three- Intermezzi for clarinet or violin and piano. a) Novello, I88O. (Score title: "...for- Violin' (or Clarinet) and.

Pianoforte".) b) New edition!, edited by Colin Bradbury, J. & W. Chester, 1979. c) Autograph score, the three movements dated 26 Nov.i879, 28 NOTT.

1879, and 9 Dec. 1879 respectively, together- with the autograph-violin part and a manuscript copy of the clarinet part.

The autographi score and the two MS parts are held by the University-Library here and, should you wish for a microfilm, you should write to Mr Robert S. Firth, Special Collections, University Library, Newcastle upon Tyne-, NE2 kHC^.

O P . 8 0 ; Concerto in A minor- (in one movement) for clarinet and orches tra-ai) Cramer-, 1977. Arrangement for- clardnet and pianoforte, edited,

by Pamelas Weston. b) Autograph full score- in the library of the Royal Academy of

Musio. o.) A manuscript full score in a copyist's hand. This was held by

Messrs Stainer & Bell in 1977, and I am at a loss to understand, what happened to it or where it is now. This score was in the hands of the BBC Londom for the third: of three broadcasts on Radio Three> of Stanford'3 orchestral music, 7th December 1977. I had it in my hands briefly as I was concerned in preparing the texts which accompanied these broadcasts, and made a xerox copy-before returning it to the BBC a Tliis xerox copy is in- tho Universit-j Library here and .'•Ir- Firth -./ouid probably be willing to make yoiu ai microfilm of it. if you applied to him.

OD.129: Sonata for- clarinet ^or viola) and nianoforto in F major. a) Stainer i Bell, 191d. Full score and separate clarinec part.

The alternative viola part was published separately by Stainer &. Bell ini 1919a I note you mention a 'reprint' of this Sonata by S & B——I was not aware of a reprint and should be grateful for-full details a

b)) Autograph full score- dated 23 Dec.1911', and autograph clarinet part, held by Cambridge University Library, Add. 87^1. This they ptirchased from the estate of the late Dr Thomas Dunnill in I983. If you wish for a microfilm you could -. rite to Mr- Di rek Williams, Music Librarian, The University Library, Cambridge, CD3 9DRa

[over-]

158

If you will let me know of any specific requests I am most willing tot attempt to help you, but. would ask you please to be-specific and provide as full bibliographical details as you find possible.

All good wishes in your taska

Sincerely yours

____*'Js_4XCL-»no

Frederick Hudson: Reader in Music (retired) University of Newcastle upon Tyne

159

University of Newcastle upon Tyne

From: Dr Frederick Hudson 12 Claremont Street Newcastle upon Tyne NE2 kMl England

LIBRARY NEWCASTLE UPON TYNE NE2 4M0 TELEPHONE (091) 232 8511

LIBRARIAN a j ENRIGHT MA. 0 Phil

To: Mr David Fonnell Music Department Angelo State University San Angelo, Texas 76909 U.S.A.

29 June 198T

Dear Mr Fennell,

Thank you for your letter of l6th June,

I am most grateful for the details you give me concerning tlie reprint of Stanford's Sonata for clarinet.... Op. 129, by Stainer Sc Bell (Galaxy Music Corporation, USA), printed by Galliard, Great Yarmouth. As you don't mention it I assume that this reprint is "o^ dated, the former^^ Copyright, MCMXVIII' being deleted. From the introduction of the names Galaxy and Galliard to the imprint I guess the publication date to be in the early 1960Sa

The autograph full score of Stanford's Serenade in F for strings and wind instruments (Nonet), Opus 95» is in the University Library here^ it is dated: 16 Julv 1905, London, and the first London performance-was given recently in the RCM (2nd March 198T), conducted by Stefan Asbury—you may care to write to Mr Michael Bryant, 61 Oakhill, Surbiton-, Surrey, KT6- 6DY, of the Clarinet & Saxophone Society who was the prime mover in this performancea Mr Robert Firth, Special Collections, University Library, has made a xerox copy of the autograph score, I understand, to save wear- and tear of the manuscript, and would probably be willing to provide you with a copy of this.

Good luckl

Sincerely yours

jLi..o.ifZ.S^

Frederick Hudson

160

Dr Frederick Hudson 12 Claremont Street Newcastle upon Tyne NE2 U A H England

:;r David Fenneil Music Department Angelo State University San Angelo Texas 76909 USA

Dear Mr Fennell,

17th August 1987

C. V. STAMFORD;

Very many thanks for your letter of 22nd July and your kindness in sending me copies of tho titlepage and first and last pages of tJie music text of the Galaxy Edition (S ^c. 3) of Stanford's Sonata for Clarinet and Piano, Op. 129. I note you believe it was printed after tlie copyright ran out ikm after the end of 197^+.

It is possible that this Serenade ( published in die not-fcoo-distant future, of the publishing company, Cathodral 'lus recommendations of Stanford material wiii I have suggested this work as highly sui a- good public response. I have put him i (and Mr Firth, of course) but I believe publish unpublished material will need t Stanford's legal heirs, the Royal Sctiool Palace, Croydon, London—altliough the ' written into UK Copyright Law as one of 'publication', as in USA Copyright Law. everyone concerned will wish to have thi and available.

My cordial regards and good wishes

Nonet), op.95, may be Mr Richard Barnes, Director

ic, has aslcod for my ch merits publication- and table and likely to roccive-n touch with Michael Bryant that anyone wishing to o obtain permission from of Church Music, Addington

act of performance' is now the acts which constitutes In any case, I'm certain

s and other- works in print

Sincoroiy yours

*rm^>f^ ^*\

Frederick Hudson

161

University of Newcastle upon Tyne Dr Fredoricic Hudson 12 Claremont Street Newcastle upon Tyne NE2 'UH England

LIBRARY NEWCASTLE UPON TYNE NE2 4Ha TELEPHONE (091) 232 8511

LIBRARIAN a J.ENRIGHT MA. 0 PbU

' th September 198?

Mr David Fonnoll Music Departmoiit Angelo State University Sttn Angelo Texas 7^909 USA

Dear Mr Fonnell,

Charles Villiers Stanford:

Thank you for your good letter of 29th August. I'm pleased tl\at you have had a positive response from tlie British Library concerning articles in what you term 'defunct' periodicals, and that you have received copies of Op.80, Concerto in A minor, and Opal3, Throe Intermezzi from tlie University Library.

I am most intorested in what you say concerning the tliird movo'iicnt of the Thr^e IntGrmezzi and will certainly make a detailed inspection of the autograph and copyist's MSS and attempt to answer-your queries. Mr Firtli is on leave at present so a visit to the Stanford archive must wait until next week, after which I'll write to you again. Yes, indeed, the circumstantial evidence points to l-"rancis Galpin as the copyist. Do you have any examples of Galpin's music script to compare? Do you have access to a computer terminal of the OCLC (Online Computer Library Center) at Columbus, Ohio? If so, you could possibly find out whether any British library (maybe Cambrid-o University Library, or the Pendlcbury Library, Music School, Downin/;; Street, Cambrid'3-e) has examples of his hand.

But my purpose in replying at once is to tell you that there Our'Q^ three further autograph scores of unpublished works by Stanford in the archive here. I was reminded of these wor'.cs (ivhich include participation of the clarinet) when making a list yesterday of our unpublished MS works for tlie Royal School of Church Music. These are;-

Minuet in B flat for small orchestra (or Octet?), for flute, clarinet in D flat, Korn in F. violin I, II, viola, violoncello, and harp ad lib. The autogran{\ full score is signed and dated: C. V. Stanford / :iav 2. 1911.

Fantasy (No. l) for Cl-Arinot and Strin'-: Quartet, T ninor, (clarinet II, viola, and violoncello). Wn have the G.V.5. / Oct [Apr.?] 27 . I I9l2l ., and a set of

in B flat, vioLin I, autograpli full score: five autograph [jerfonning parts.

Fantasy (Mo. 2) f- r CIn.rinet In T flat .inLi Strin.T ^uartnt. F -najor , . 3 tan to r ' i / ( c l a r i n e t in J f l a c , v i o l i n I , I I , v i o i a , v i o i o n c o i l o ;

J u n e I J a n ? ] f 19 l 2 2 . A u t o g r a p h f u l l s c o r e , and f i v e a u t o g r a p n p a r t s .

I c a n n o t e m p h a s i z e too s t r o n g l y t h a t t h o s e worlcs, l i k e a l l o t h e r -u n p u b l i s h e d vorics by S t a n f o r d , a r e c o p y r i g h t u n d e r B r i t i s h and i n t e r n a t i o n a l l a w , and t h a t t h e c o p y r i g h t i s h e l d by t h e Royal SchooL o f Chu rch M u s i c , S t a n f o r d ' s l e g - \ l h e i r s u n d e r t h e W i l l of G. V. S t a n f o r d and t h e W i l l of h i s s o n , Guy S t a n f o r d . I would a d v i s e you t o w r i t e t o Mr. V. E. W a t o r h o u s e , S e c r e t a r y , Tlie Roya l Scl iool of CJiurch M u s i c , A d d i n g t o n P a l a c e , CROYDON, CR9 5AD, and a s k p e r m i s s i o n t o malce c o p i e s of t h e s e a u t o g r a p h works ( I ' m s u r e t l i i s would be r e a d i l y

162

fortlicoming) and sond a copy of this ponnission to Mr Robert Firth with your request for .xorox copying or microfilm .as you wish. Tills is tho procedure which nust bo followed with all libraries holding copyright •-.lat'-rial ( t'.io onus being on tho applicant to ascertain ttie legal copyririt holder and obtain permission) and I'm sure we would all wish to carry on our woric within the lawl

I' very good wish I'll be in touch a.- ain next week.

Sincerely vour*?

Fredericlc Hudson

163

University of Newcastle upon Tyne Dr F r e d e r i c ! : Hudson 12 Claremont S t r e e t ? 'cwca3t lo upon Tvne NE2 h\U England

LIBRARY NEWCASTLE UPON TYNE NE2 4MQ TELEPHONE (091) 232 8511

LIBRARIAN BJ.ENRIGHT MA. 0 PM)

8th September 1987

Mr David Fennell ^klsic Depart:nont Angelo State University San -tT^olo Texas 76909 U.S.A.

/. bv

Dear Mr Fennell, Cliarles Villiers Stanford, "Opus 13;

I spent this morning in the Library, in discussion and exchange of information with Mr Firth, in cataloguin.g and slielving a recent gift of 12 original prints, and in examining the manuscripts of Opus 13, Tlirce Intermezzi, in res(ionse to your reiuost, and in making notes.

First, to answer the question you pose at tlie end of your third paragraph (your letter of 29th August). The part headed 'Clarinetto in D flat', which you think may well be in tho liand of Francis (later Canon) Galpin, is written on one bifolium of ^ X 12-stave pages, and the written-out part for '.'o .IT.X (most

Stanford's autograph) is written on a separate, (2 X. 12-stave pages) on exactly the same paper.

certainly in single slieet

As your .xero.x copies will not show the different coloured inks on the original MSS, I've made notes on these hofiing it will help your understanding. A. t the same time, tlie material I examined this .morning is certainly a) performing material for the performance on iSth February iSflO (Stanford having completed his score by 9 December ir?79), and b) material submitted to "-Jovello for publication and mar'ced up^^'Novello' s reader and the ''ngraver.

Tho autOTranh score (l6-3tave MS) begins with 'Clarinet' crossed out in lead pencil and 'Violin' substituted. Following tliis there is an arrow in red ink pointing to the key signature witli 'Sig. of 2 b with 'Cantabile', and the part transoosed down a whole tone throughout all in red ink for I, II, and III. Above "IcIII in blue crayon pencil tliore is "Please engrave Clarinet part in D -Tiinor-as sot out in separate Clarinet part", then crossed out in the same blue. In 'Clarinet in C' t!ie ' C is crossed out and ' D^ ' substituted.

In tho autngrafh violin nart there is tlto lieuding '3 Intcr-nezzi for Cl;irinec (or /ioiin)'. ..'ovoilo's reader has crossed out 'Clarinet (or Violin)' '..-ith tlie same Clarinec)'.

blue pencil and substituted 'Violin (or-

riie copyist 'Clarinetto strange for In ?:OaIII t

tlio beginning of 'lis cir.rinet prvrt, this old-fasliionod use of the term

a close, educated pupil of Stanford's, if this is Galpinl) le nart is for 'Clarinotto in C and I have no doubt that

has -..'ri t ton at in 3|'' , (I find

Galpin performed it on this instrument. Movello's reader, however, seems to have liad different ideas and used his blue pencil to substitute 'Df^' for ' C , also crossing out the whole of N^.III, hence t!ie for the B

reason ; or •Stanford writing out No. Ill in Iiis own hand flat instrument, <,.«,. nftf«r w

[contd over

From my examination of tho autograph and copyist's material this morning I got the impression that Stanford conceived tlio Throe Intermezzi primarily as throe chamber pieces for clarinet and piano .an<i as such gave them their first performance. But tliat on submitting them to Novello for publication, Novello (like all publishers before and since) had an eye on tho greatest number oC sales and insisted on placing the violin first, with the clarinet as an optional (and second-oost) alternative.

164

'Jew, ref >rrin'; bnc!: to -ny letter of '*tli Scnto'nber, yon will noce that I havo listed three further wor'cs which mi-ht bo of value- to your studi'?s and tiicsis, and tny suggestiixi that you should wrlto to tho RSCM and then to Mr Firth.

In a previous of the Ser^nad ^'athedral :iusi mator-*ril ized. recommend to h in my most ree opinion, on tlii help promote t Inrernational with you, and UK is concerne

letter I stated that I had recommended the publicationi e [Monet], Op.95, to Mr Ricliard larnes, Director of c, and you say you would be delighted if this act Tt has onciirred to mn recently tli.at T mi —li t nl.«»o im tho publication of the three short plncos I listed en t letter to you. Would you plea.se let me have your s suggestion, and also let me Icnoi/ whether you would his venture with the members and organisation of the Clarinet Society? If so, I would put Mr 3arnes in touch also put him in touch with Michael Bryant as far as the d.

Sincerely yours

.-^^^".-^--^^^-"^^

Frederick Hudson

University of Newcastle upon Tyne ^ ^ LIBRARY Dr Frederick Hudson 12 Claremont Street Nowcastla upon Tyne-ME2 U\l{ England

NEWCASTLE UPON TYNE NE2 IHQ TELEPHONE (091) 232 8511

LIBRARIAN BJ.ENRIGHT MA. 0 PMI

165

Mr David Fennell Music Dfepartment Angelo State University San Angelo Texas 76909 USA

2l3t November- 1987

Dear Mr Fenneil, Charles Villiers Stanford

Very many thanks for your letter of 13th November. I'm glad that you have applied for and received permission- from the RSCM to take copies- from the designated autograph MSS in our collection-. We may leave the question of publication! of these MSS until you have had the opportunity of assessing their potential in a tough market any move to promote publication would need an assurance of support both here and in the USA. I'll attempt to answer your-queries concerning our MSS 96, 100. and 102. The whole collection^ of some 120 scores and parts, mainly autograph, was deposited by Messrs Stainer &. Bell on permanent loan in 1979; these came from their archive and, as this included numerous works from other pubiishing houses, I can only surmize that successive managing directors of S (t B: had collected these- by deposit from others (possibly even from Guy Stanford) in addition to being a respository for scores and parts which they themselves published, including 'copy' for their engravers.

Second, I have no record or knowledge of previouT performances of these three works (and the same is true of many other MSS in the* collection). Third, the fact that Stanford wrote out performing parts would seem to indicate at least a private performance- or-, alternatively that he hoped to bring them to performance. On the-other hand we need to remember- that Stanford was a prolific composer, and also that fSishions in musical composition' had changed; radically by his declining years, added to which) I know that he-had to suffer the pain of having compositions rejected by publishers at the end of his life.

Hbre it may perhaps be helpful if I make our position clear-on the question of copyright, and I quote from a note appended- to-our-.MSS catalogues "Some ' 1. works represented by 66 MSS in this catalogue- are designated 'unpublished' and, until proof of publication is established, the University Library must consider-them to be copyright", following the which is information concerning Guy Stanford's Will, the address of the RSCM, and that the University Library requests written per^mission from the RSCM from applicants who seek "to copy, perform, or publish works or .MSS in this category". I believe you air«>ady know that the RSCM and the University Library are concerned to promote the works of Stanford; and will give every help within the bounds of Copyright Law.

To further your efforts to obtain examples of Francis Galpin's hand in notation and scrlpc failing a positive reply,especially from the Galpin Society, the addres you seek is: The Curator-, Tho Pendlebury Library, Music School [Department of .Music, University of Camoridge], Downing Place, Cambridge a

[contd pa2]

166

[2]

Clarinet Concerto. Op.80: There is somo mystery about tho present location of MSS of this work. Tho full score used by the OUC for their broadcast in 197T (7th December), with Jack Orymer- as< soloist, was- iniai copyist'a hand and I understood at tho time that this came from the RAM Library. As I had been commissioned to write-tho scripts for these three broadcasts. Jack Brymer sent mo this score for- a brief period for study purposes and tho University Library made a xerox copy for the archive and a personal copy for­me——I did not make any score or redution' from this, but duly returned the MS to Jack 3r-.'mcr-. I hope that the Rj\M Library had this* MS copy returned to them but I have no evidence that this -vas so. I do not know of a clarinet and piano reduction version in the R\l-\ (or elswhere) but I feel sure that Pamela Weston^ will have closer-information on this question', or possibly Thea King who recorded this-work for Hyperiom on 28-29' Bovember 1979. I hope you have a posit.ivaf outcome- to your enquiries .

Most cordial regards and good wishes. Sincerely yo^rs

N <c« >-«\

Frederick Hudson

167

University of Newcastle upon Tyne Dr Frederick Hudson 12 Claremont Street Newcastle upon Tyne NE2 liMl England

Mr. David Fennell Music Department Angelo State University San Angelo Texas 7fc'909, USA

LIBRARY NEWCASTLE UPON TYNE NE2 •IHQ TELEPHONE (091) 232 8511

LIBRARIAN BJ.ENRIGHT MA. 0 Phil

17 April 1988

Dear Mr Fennell,

Charles Villiers Stanford Collection

Thank you for your lector and enclosures of 7th April-

I had a letter recently from Georgina Debree asking for a copy of the MS copy we have of Stanford's Clarinet Concerto. Op.80.

Oi-J^U^

in a copyist's hand which we have is, in fact, not a a xero.x copy. The original MS was on loan to the BBC London, for the third of three Radio Throe broadcast Stanford's orchestral music, November-December 1977,

the MS score manuscript bu< Music Library, concerts of and for which

I was asked to write the scripts. The MS was sent to me for perusal by Jack IJryrtier-, the soloist in the third concert, and returned to him after I had made my notes and after we had made a .xerox copy for the archive. My records show that this MS v/as in the possossioni of Messrs Stainer •'c Bell up to this point, but it did not come to us in September 1979 when Stainer -. Hell deposited their holdings of some 120 MSS, mainly autograph, on permanent loan in the IJnivor.sity Library. It would appear that S<ka.iner & Bell no longer-hold this MS and I fear that its present location is something of a mystery.

cannot at the moment locate the source in my many a dim memory that Hilary Chadwyck-IIealey was a close of the Stanfords, if not a relation by marriage——

memory is not much help at this stageI Ci ni•i Bornet

Though I files, I have family friend though a dim of the RCM Library may be able to .$.hed some light——it was Hilary Chadwyck-lfealy who made the gift of Stanford's so-called 'Autograph) Book' to the RCM I list the contents in Tho Musical Times ]kk8, Vol.104, October 1963, p.730, and note that this was 'a recent acquisition'. I also believe that Chadwyck-Uealoy was one of the trustees of the estacer, of both Geraldine and Guy Stanford.

Thank you again for your .xerox enclosures. Tlie "crest* is tliat of tlio Stanford family, described in 'The Landed Gentry of Ireland', '»th edn., 1958, pp.6'*8-9, as: ARMS: Az. a chevron erm. between threa-leopard's faces arg., two and one. CREST: Out of an eastern crown arga an arm erect vested purpure, holding in the hand a sword arg. MOTTO: Dleu et mon Rol. I, too, think^ that the MS copy of Op.SO (of which we liave merely a xerox copy) may well be in Chadwyck-Hbaley's handwriting the sense of Guy Stanford's dedication.

168

points to this, and I know of no Guy Stanford died in 1953 and he tho autograph score in 1950» Jus very many other of his father's I understand, suffering from can confirm the date when he made th mado a rough count and he prosen this time. I also see from this 'Autograph Book' mentioned above the estate of Guy Stanford in 19 for you, that the MS full score IMian.- odv ",n.'i in \ -ninor ( •:ho 'U

o f ![. 1958.

C h a d w y c k - i l o a i c y -vho p r e

Thank you for tho .xerox co Evensong in Westminster .X.bbey-his favourite service was his Se address to the RMA at the same t

other MS full score of this work. presented Chadwyck-Healey with

t about the time that he presented scoros to the RCM Library (he was, cer)a Christopher Tornet could ese presentations. I have Just ted some 28 scores to the RCM at perusal that the so-called was presented by the Trustees of 5^, and, perhaps more importantly copy [MS '•251] of Op. I'M, Irl.qh Ister' Rhapsodv) is in tho hand

.->d sonc/it to the RCM in September

py of the 1952 Commemoration according to H, Plunket Greene tting in C vide Herbert Howells' ime (PRMA 79, 1953, pp. 19-31).

Cordial regards.

Sincerely yours

Frederick Hudson

169

THE ROYAL SCHOOL OF C H U R C H MUSIC

A D D I N G T O N P A L A C E C R O Y D O N C R 9 S A D

TELEPHONE: 01-654 7676 Secretary: V. E. WATERHOUSE

to whom ail correspondence should be addressed.

David Fennell, Esq., Music Department, Angelo State University, San Angelo, Texas 76909

Dear Mr. Fennell,

E.XT.

29 September 1987

I write in reply to your letter of 22 September and note that you are conducting research on the clarinet music of C.V. Stanford. On behalf of the RSCM I am happy to give permission for you to make copies of material presently deposited in the University Library at Newcastle.

Yours sincerely.

N-e_

A Compiny limned by guarinice. ropHCTed in Loniion. number 2500JI. Re^iiiered olfice: Adiiin^on Pilice. Ctovdon. CIL9 SAD

170

if ilia ^yar/tr/fT //ej^f

f^i y ^

vm .'!jn

D-'vid F e n n e l l , •'Msic Oep t . , \n.7?lo Tt-'te U n i v e r s i t y , Sin ^n^e io , Texas 76909. 2/\/^l,

D e T .Mr. Fenne l l ,

Thank you for your l e t t e r of March 22nd. .

I w i l l t r y to help you i s much as I can in your r e sea rch on S t a n f o r d ' s c l a r i n e t music, though there i s not a l o t I can do..

Yes, ray e d i t i o n of the Concerto- i s a piano- r e d u c t i o n . No, t he score ^nd p a r t s are .not at p r e sen t a v a i l a b l e for purchase or rent=>l. However, I th ink i e ro^ ina Dobree rai^ht be ab le to hela you on t h i s - Her address i s : 1/94 .Voodland l a r d e n s , London NIO JUB.

Joth Col in Br'- 'dley's e d i t i o n of the I'hree In te rmezz i and ; Concerto have h i s t o r i c a l notes at the be.ginnin/r. Apart there i s no th in? Tiore I G?n t e l l you.. The Sonata as you

" i t t e n fo r Osc-^r S t r e e t and Charles D n o e r , I t ••/as s t r e e t '

Both Col in Br ' -d ley ' s e d i t i o n of the Three In te rmezz i and Tiine of t h ; from t h e s e kno -r -.-/ag w r i t t e n fo r Osc^r dnuThter (no'v deceTsed) who -^ave me her f a t h e r ' s copy of S t a n f o r d ' s p iano r e d u c t i o n of the Concer to , a lso correspondence ' b o u t t h i s ^nd a cony of t he proT'>inrae for the f i r s t performance. Oscar S t r e e t was a s o l i c i t o r '•nd t a l e n t e d 'unateur c l a r i n e t t i s t who played in the Royal Amateur O r c h e s t r a . He V'JS wel l off and vas generous -^ith f i n a n c i a l he lo to G h T l e s Dr-^ner "nd Freder ick Thurston^ I have a charming song he "..TOte for sonr^jio, c l a r i n e t and p i ano .

' i i t h kind r e g a r d s .

\\,:.^i;'^

171

- - " ^ ^ a r - t

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4

.J

APPENDIX B

PHOTOCOPIES OF THE AUTOGRAPH SCORE, MANUSCRIPT

CLARINET PART, AUTOGRAPH CLARINET PART AND

AUTOGRAPH VIOLIN PART TO THREE

INTERMEZZI, OP. 13

172

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APPENDIX C

PHOTOCOPIES OF THE AUTOGRAPH SCORE

TO CONCERTO, OP. 80

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